In a brutal, crime-infested burg, three hardened men for whom violence comes easy set out to punish fiends who have maimed, molested or murdered various women and children.

CAST: Bruce Willis, Mickey Rourke, Jessica Alba, Clive Owen, Nick Stahl, Powers Boothe, Rutger Hauer, Elijah Wood, Rosario Dawson, Benicio Del Toro, Jaime King, Devon Aoki, Brittany Murphy, Michael Clarke Duncan, Carla Gugino, Michael Madsen, Josh Hartnett, Alexis Bledel, Frank Miller

DIRECTORS: Robert Rodriguez and Frank Miller


“Noir doesn't get gnarlier than in the corpse operas of Frank Miller's graphic novels or Robert Rodriguez's ultra-vivid movie of three of them...The cool thing about this digital scare-scape is how fidelity to Miller's vision liberated Rodriguez and the cast. Everyone has a great time playing it hard and fast. For all its astronomical body count, ‘Sin City’ is brazenly, thrillingly alive.” --Richard Corliss, Time

“My reaction to ‘Sin City’ is easily stated. I loved it. Or, to put it another way, I loved it, I loved it, I loved it. I loved every gorgeous sick disgusting ravishing overbaked blood-spurting artificial frame of it...It's a study in luminous black and white, with sudden and breathtaking splashes of crimson, chartreuse, and a particularly nauseating mustard for a gargoyle-incubus psycho...It’s Mickey Rourke's movie. Yes, Mickey's back. Between bodybuilding and sundry forms of self-abuse, he hasn't been the prettiest sight in the last decade. But as Marv he wears prosthetics that thicken his features and make his ugliness poetic, and he has the big-lug powerhouse magnetism of Robert Mitchum...The final encounter between this blockish pugilistic slab of beef and Elijah Wood's Kevin—a mute cannibal psycho geek with little glasses that white out his eyes and who fights like a weightless dervish—is a thrilling gravitational mismatch.” --David Edelstein, Slate

“‘Sin City,’ an exquisitely made, unbearably faddish movie that will strike joy into the hearts of all who revere amputation and apocalypse, opens with a swoony love scene culminating in a murder for the heck of it. From there it moves smartly to the promise of child molestation and, with the culprit having had both his face and his balls shot off by Bruce Willis, steams merrily along toward cannibalism, electrocution and the mounting of severed female heads on walls. Had enough? If not, then you are in all likelihood an adult male aging ungracefully, or a pimply youth with a pimply youth’s fondness for comic books about hell on Earth. If you’re a woman of any age who gets off on this stuff, even with its feeble stabs at feminist role reversals, I throw up my hands.” --Ella Taylor, LA Weekly

"‘Sin City’ is a dessert from hell, an intense reduction of certain urban pop culture traditions into a creme brulee of brilliant artificiality. It takes the stylings of the spontaneous and gripping film noir moviemaking of the '40s -- shadowy streets, neon spangles, dramatic compositions, extreme states of being -- and melts them down to scabrous, gooey essence...It celebrates revenge of the most violent sort, it features heroes who not merely kill but mutilate, then torture to death their enemies, its view of women is primeval (they be all gun-toting 'ho's), it draws the energy of titillation from breathless examinations of the most profane human behavior (cannibalism, child molestation, rape, ambush-murder), it values toughness above everything, and damn, it's really good...Two hours and six minutes has never seemed so much like two and six-tenths seconds. It's pure pulp metafiction.” --Stephen Hunter, The Washington Post

“The new movie by Robert Rodriguez and Frank Miller plays like a convention at the movie museum in Quentin Tarantino's subconscious. A-list action stars rub shoulders with snaky villains and sexy wenches, in a city where the streets are always wet, the cars are ragtops and everybody smokes...This isn't an adaptation of a comic book, it's like a comic book brought to life and pumped with steroids...‘Sin City’ could easily have looked as good as it does and still been a mess, if it were not for the energy of Miller's storytelling, which is not the standard chronological account of events, but more like a tabloid murder illuminated by flashbulbs...It's a visualization of the pulp noir imagination, uncompromising and extreme. Yes, and brilliant.” --Roger Ebert, Chicago Sun-Times

"‘Sin City’ unfolds in a permanent midnight with only an intermittent splash of color to brighten the dark. In this shadowland, the men wear trench coats and chips on their shoulders, while the women wear next to nothing at all...There is nothing urgent or remotely profound about ‘Sin City’ and its pastiche of styles; here, the text is the subtext, and the horror is abstract, not rooted in the real...The film feels as if it takes place under glass, which makes conceptual sense, since the characters don't bear any resemblance to actual life: they don't have hearts (or brains), so there's no reason they should have lungs or air to breathe. At the same time, Mr. Miller and Mr. Rodriguez's commitment to absolute unreality and the absence of the human factor mean it's hard to get pulled into the story on any level other than the visceral. When stuff goes blam, you jump like someone who's landed on a whoopee cushion. But then you just sit there, wrap yourself in the dark and try not to fall asleep.” --Manohla Dargis, The New York Times

“If Raymond Chandler and Daffy Duck could have produced a child, ‘Sin City’ would be their baby. Hard-boiled dialogue issues from the mouths of characters who are treated like Warner Bros. cartoons—whacked at, hacked up, pummeled, yet always ready to bounce back to yap a new of the most witty, and, yes, moral movies of the year.” --Ken Tucker, New York Magazine

“Nothing is easier than to tumble under the spell of its savage comedy—Marv driving along with the door open, say, holding another guy down so that his head is roughly sanded by the road, or Jackie Boy continuing to chatter with his throat cut. We have, it is clear, reached the lively dead end of a process that was initiated by a fretful Martin Scorsese and inflamed, with less embarrassed glee, by Tarantino: the process of knowing everything about violence and nothing about suffering...The sad thing is that the youthful, iron-skinned audience at whom the film is aimed will trumpet their belief that ‘Sin City’ offers something new—not merely in its bewildering technique but in its vision of scarified urban souls.” --Anthony Lane, The New Yorker

''‘Sin City’ is the first great Hollywood joy ride of the year. Hyperstylized and ultra-ultra-violent, this adaptation of Frank Miller's two-fisted cult comic book series barrels through a black-and-white moral landscape like a runaway bullet train, and it makes no stops for those with delicate constitutions to stagger off...a stunning, visceral piece of work -- cheap thrills polished to the level of high art...Of the movie's intertwined narratives, the prize probably goes to the one that rescues Mickey Rourke, of all people, from the pop-culture has-been bin.” --Ty Burr, Boston Globe

“Faithfulness, a virtue in personal relationships, is overrated when it comes to movie adaptations of comic books. The devotee who is betrothed to the pages of a particular, ardently loved graphic novel is the devotee advised to reread that book, through sickness and health, for guaranteed fidelity of experience. To look for the same in a movie is to arrive at the obsessive literal-mindedness and diminished emotional returns of ‘Sin City’...if the sacred works of Jane Austen can stand up to freewheeling reinterpretation, then so, too, can heavy-breathing pages about trussed-up little girls and a vile-smelling cartoon pervert known as Yellow Bastard...Glued tightly from page to screen, ‘Sin City’ is so seduced by the visual possibilities of sin that style becomes its own vice.” --Lisa Schwarzbaum, Entertainment Weekly

“It'll be way too much for Bush America, which is the best thing I can say about it...‘Sin City,’ shot by Rodriguez in black-and-white with the occasional splash of color from, say, a whore's lip gloss or a yellow-skinned rapist, mixes hard-boiled pulp fiction, 1940s film noir and the dazzling monochrome of Miller's graphic design to explore the dark night of the soul...Mickey Rourke gives a sensational comeback performance as Marv, an ex-con with a Frankenstein jaw line who wakes up next to a dead hooker (Jaime King) and vows revenge...‘Sin City’ is a hard, cold, relentless assault. It's also something Hollywood seems to have given up on: a bold, uncompromised vision.” --Peter Travers, Rolling Stone

"‘Sin City’ snaps, crackles and pops like no graphic novel ever brought to the screen. Mixing live-action with computer-generated images, it looks like the novels, talks and bleeds like the novels, is as muscular and voluptuous as the novels — and it leaves you breathless as only a movie can...a pop-warp noir fantasy whose dialogue could have been written by Raymond Chandler on steroids...There are amputations, beheadings, castrations, cannibalism. A wolf is seen eating a live amputee's fresh stump. An assassin executes a woman in the midst of an otherwise lovely seduction scene...But the violence in the film's digitized cartoon world is so hyperstylized, it's less gruesome than your average video game.” --Jack Mathews, New York Daily News

“‘Sin City’ is unlike anything you've ever seen before...this is noir on steroids, cartoonishly ultra-violent and drawing inspiration from Mickey Spillane novels and E.C. comics of the '50s.” --Lou Lumenick, New York Post