THE LEGO BATMAN MOVIE (2017)

Review by Derrick Carter

Running Time: 1 hour 44 minutes

MPAA Rating: PG for Rude Humor and some Action

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Directed by: Chris McKay

Written by: Seth Grahame-Smith, Chris McKenna, Erik Sommers, Jared Stern & John Whittington

Voices of: Will Arnett, Zach Galifianakis, Michael Cera, Rosario Dawson, Ralph Fiennes, Mariah Carey, Jenny Slate, Susan Bennett, Billy Dee Williams, Hector Elizondo, Conan O’Brien, Jason Mantzoukas, Doug Benson, Zoe Kravitz, Channing Tatum, Jonah Hill, Adam DeVine, Eddie Izzard & Seth Green

The first of three new LEGO movies, THE LEGO BATMAN MOVIE is a spin-off for the popular DC superhero from 2014’s surprisingly awesome THE LEGO MOVIE. Will Arnett has returned to reprise the vocal work for Lego Batman/Bruce Wayne and this film is set entirely within the Lego DC Universe. Filled to the brim with comic book references and call-backs to other movies, LEGO BATMAN never takes itself seriously at all and yet still manages to throw in a touching message about family and friends. Though not as great as its LEGO predecessor, THE LEGO BATMAN MOVIE is the best DC Comics movie to hit nationwide theatrical release in years. This is a delight for parents, teenagers, and Batman fans who enjoy a good laugh.

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In Lego Gotham City, orphan-turned-superhero Batman (Will Arnett) enjoys wearing black, playing loud music and fighting crime. He’s always saving the day, but has never let anybody else into his life…other than faithful butler Alfred (Ralph Fiennes). After Batman foils the Joker (Zach Galifianakis) yet again and hurts the evil clown’s feelings, the villain hatches an ingenious scheme for revenge. Meanwhile, Commissioner Gordon’s daughter Barbara (Rosario Dawson) has stepped into her dad’s shoes as chief of police and has enacted a new “it takes a village, not a Batman” approach to fighting crime. Also, Batman has taken young boywonder Robin under his reluctant parental wing. The real challenge Batman has to face though…is overcoming his fears about family.

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Will Arnett’s Batman was easily one of the funniest parts of THE LEGO MOVIE and he brings everything that fans loved about that character into a feature-length running time. Though this film has a handful of slow moments that drag, Arnett’s comedic timing and purposely brooding voice frequently rescue the story from being “too much of a good thing.” The rest of the voice cast is stellar as well, with Michael Cera delivering some of the biggest laughs as lively, no-pants-wearing Robin. Tons of Batman’s rogue gallery make appearances too, including a lot of C-grade baddies that provide giggles from their mere cameos. My two favorite side villains were Catwoman (who’s constantly saying “mew mew”) and Bane (who’s adopted the strange, but awesome-sounding voice from 2012’s THE DARK KNIGHT RISES). Zach Galifianakis also shines in the most sensitive portrayal of the Joker that you’ve ever seen, making for an evil supervillain that throws tantrums like a depressed ex-girlfriend.

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It should come as no surprise that THE LEGO BATMAN MOVIE is chock-full of movie, TV and comic book references. There are so many jokes within the first five minutes that it seems impossible to catch them all in one viewing. From signs that cheering citizens are holding to bits of dialogue that directly tie into certain films to full-blown footage used from every big-screen Batman in history, there are tons of laughs and in-cannon material here to satisfy diehard Batman fans. The film also throws tons of references towards DC comics in general, featuring cameos from Justice League members and familiar places from Superman’s stories. Even still, the references don’t stop there because there are unexpected non-cannon characters that have a big part to play in the proceedings. I won’t go into detail, but I was grinning ear to ear for a majority of the action-packed climax.

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LEGO BATMAN MOVIE’s message isn’t exactly original, but seems perfectly suited to the nature of Batman’s character and how we’ve seen this character explored in past versions of the material. The film’s lively visuals explode off the screen, looking like stop-motion even though they are actually the result of highly-detailed computer animation. As clever, entertaining and downright fun as LEGO BATMAN is, the plot encounters a few dull stretches. These mainly come in the second act, where we need to see certain things develop. In writing my summary of this film’s story, it struck me that LEGO BATMAN juggles four different subplots and tries to bring them together as a cohesive whole. The script does a solid job of this for the most part, but occasionally meanders as it brings these storylines together. Still, the pay-off, countless references, sheer entertainment value, and never-ending sense of humor are all well-worth the price of admission.

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If you’re a fan of 2014’s THE LEGO MOVIE or any incarnation of Batman, then THE LEGO BATMAN MOVIE is a must-see! I imagine that DC Comics fans will have a field day with the sheer amount of references, tie-ins, and clever writing; all while kids are having a blast watching Lego Batman run around on the screen. I saw LEGO BATMAN in a sold-out movie theater that was filled with families and an apparent birthday party going on the front two rows. At no point, during any minute of the running time, did a child begin crying or a bratty kid act out in any way. That’s almost unheard of, at least for me. Everybody was glued to the screen and that’s a major feat for any family film. Though the pacing isn’t perfect, but THE LEGO BATMAN MOVIE is a ton of fun! Sometimes, that’s all you need!

Grade: B+

SHATTERED GLASS (2003)

Review by Derrick Carter

Running Time: 1 hour 34 minutes

MPAA Rating: PG-13 for Language, Sexual References and brief Drug Use

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Directed by: Billy Ray

Written by: Billy Ray

(based on an article by Buzz Bissinger)

Starring: Hayden Christensen, Peter Sarsgaard, Chloe Sevigny, Steve Zahn, Melanie Lynskey, Hank Azaria & Rosario Dawson

How much trust do you place in the news? A lot of Americans have found themselves evaluating that question after the recent incidents with Brian Williams (surprising) and Bill O’Reilly (not surprising in the slightest). Stephen Glass outdid those two reporters during the late 90’s. Glass worked for The New Republic (a much respected and honored magazine) and became a sensation during his three-year stint there. Unfortunately for the New Republic, Glass had completely fabricated more than half of his stories that were being printed as fact. SHATTERED GLASS is the directorial debut from Billy Ray (director of BREACH and writer of CAPTAIN PHILLIPS) and retells the Stephen Glass incident.

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The film is structured in a somewhat non-linear fashion as Glass lectures a high school journalism class about the pressures of reporting and keys to being a successful writer. Between these pieces of narration we see Stephen’s popularity among staff at New Republic and the chaos of an article that tore his falsely built career apart, titled “Hack Heaven.” When a writer at Forbes online branch discovers that Glass’s article seems to be a complete work of fiction and throws allegations at New Republic, editor Charles “Chuck” Lane becomes highly suspicious of Stephen. As the investigation furthers, tensions rise between Chuck, Stephen and the rest of the staff that may destroy The New Republic in the process.

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SHATTERED GLASS is based on an interesting true story. Therefore, the script doesn’t need to try too hard to be entertaining. This is a compelling story to begin with and director/writer Billy Ray seems to realize that he didn’t need to tweak too many details or plot points to win the viewer over. There’s a clear sense of frustration that rises to a fever-pitch as Stephen Glass grasps at straws to maintain his lies and finds himself digging a deeper hole for himself as he goes along, much to the dismay of Chuck Lane. There are a handful of recognizable faces throughout (including Steve Zahn, Rosario Dawson, and Hank Azaria), but Hayden Christensen and Peter Sarsgaard are the real stars of the show. Sarsgaard is completely believable as an editor who’s being placed in a comprising “damned he does, damned if he doesn’t” position. Meanwhile, Hayden Christensen is usually a so-so actor at best, but delivers a stellar performance as Stephen Glass that’s probably going to wind up as the best role of his career. You can’t believe a word that Stephen says and that’s the whole point.

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This film isn’t perfect thanks to a couple of script decisions that detract from what could have been a perfect film. Sections of Glass narrating the events to a class of high school students become downright distracting and unneeded at points. Not to mention that the way in which this narrative concludes is clichéd and disappointing. The Forbes reporters investigating the validity of “Hack Heaven” is just as interesting as everything else in this true story, but is completely neglected about halfway through the film. It seemed as if these scenes, with Steve Zahn as reporter Adam Penenberg, were building up to their own conclusion that never came to satisfying fruition. It’s not as if the script decisions derail a good movie, but they do keep it from perfection.

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SHATTERED GLASS is probably one of the most important movies about journalism and writing that I’ve seen. It will make you question how much faith you put in supposedly fact-based articles or news stories that you read/hear on a daily basis. Peter Sarsgaard and Hayden Christensen deliver phenomenal performances and the story is gripping the whole way through. Billy Ray seems to have a knack for turning real-life stories into good movies and I wish he’d make more of them. Over a decade later, SHATTERED GLASS is still relevant and highly recommended.

Grade: B

KILLSHOT (2009)

Review by Derrick Carter

Running Time: 1 hour 35 minutes

MPAA Rating: R for Violence, Language and brief Nudity

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Directed by: John Madden

Written by: Hossein Amini

(based on the novel KILLSHOT by Elmore Leonard)

Starring: Thomas Jane, Diane Lane, Mickey Rourke, Joseph Gordon-Levitt & Rosario Dawson

KILLSHOT is yet another victim of the Weinstein Company’s sabotaging of their own projects. This crime thriller was originally supposed to come out in 2006, but was shelved until 2009 due to frequent re-edits and test screenings. I suppose that the director’s cut would be nowhere near a masterpiece, but it could have been a lot better than this final result. One entire plot threat involving a crooked cop played by Johnny Knoxville was removed entirely, though you can look back at the older trailers and spot him in certain scenes. KILLSHOT is not a bad movie by any means, but it’s a decent predictable thriller and it reeks of potential for something more. The studio’s interfering fingerprints are all over this fast-paced simple-plotted crime tale.

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Wayne and Carmen Colson are a recently separated couple on the path to divorce. Both of them wind up in the wrong place at the wrong time and end up in the path of two murderous criminals. This dangerous duo is made up of loose-cannon amateur Richie and the calm hulking hitman Blackbird. Richie and Blackbird begin a game of cat-and-mouse with Wayne and Carmen that spans far longer than a single night. There’s enough time for multiple encounters and even different cities to be used. As Wayne and Carmen begin to fall back in love, Richie and Blackbird have tension brewing between them as they stalk the couple.

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KILLSHOT is a glamorous B-flick. It’s full of dumb decisions (especially in one notable scene when a character is on the phone and could easily tell the person she’s speaking with to call 911, but instead says “I’ll call you back” when she sees the recognizable hitman approaching from a distance). There are also plenty of coincidences that connect everything together in convenient ways. I’m not sure how good Elmore Leonard’s novel is (I’ve heard fantastic things), but this cinematic adaptation strains credibility and logic more than once. What it doesn’t deliver in smart characters, it makes up in some great tension-filled scenes. Threatening conversations, brooding moments of nothing violent really occurring, and a scenes involving shootouts (some of them very one-sided) are executed in capable ways. The plot may be strictly by the numbers, but it’s also so fast-paced that none of the logic gaps or plot holes bothered me too much. I enjoyed this in the same way I might enjoy a silly 80’s or 90’s action thriller. It’s fun while it lasts.

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The cast is a mixed bag. Thomas Jane and Diane Lane are convincing as a troubled couple experiencing marriage problems before the violent chaos even begins breaking out. However, the movie makes the odd decision of focusing far more on Mickey Rourke and Joseph Gordon-Levitt’s characters. While I can buy Mickey Rourke as an intimidating cold contract killer, I thought Joseph Gordon-Levitt was way too far over-the-top as Richie. He’s imitating a so-so Southern accent and almost acts like a cartoon character at points. I get that he’s supposed to be a loose-cannon and a psycho, but he’s almost comical at points and that doesn’t seem to have been the intention. Rosario Dawson is given a rather thankless role as Richie’s wife. She has some good bits, but it seems that most of her plotline was trimmed for the scant 95 minute running time. I also wish I had seen the thread with Johnny Knoxville playing a crooked cop, which might have given some more interesting directions to the film. It’s probably too much to hope for a director’s cut with Knoxville’s scenes reinserted into the film and Rosario Dawson taking up more screen time.

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KILLSHOT might have initially been far more than the end product indicates. The heavy studio editing is apparent. The movie rushes by with a fairly predictable plotline. The script also focuses far more on the bad guys than the couple on the run from them. It’s entertaining in the B-movie sense of things. This would be right at home in the mid to late 80’s. It’s a silly little ride that has some unique characters, fun scenes, and didn’t disappoint me in being a good time-killer. It’s far from the best movie of its type, but I enjoyed it for what it was. KILLSHOT is good time for fans of crime thrillers based around cat-and-mouse games, however predictable some of them may be.

Grade: B-

SIN CITY: A DAME TO KILL FOR (2014)

Review by Derrick Carter

Running Time: 1 hour 42 minutes

MPAA Rating: R for Strong Brutal Stylized Violence throughout, Sexual Content, Nudity, and brief Drug Use

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Directed by: Robert Rodriguez & Frank Miller

Written by: Frank Miller

(based on the SIN CITY graphic novels by Frank Miller)

Starring: Mickey Rourke, Jessica Alba, Josh Brolin, Joseph Gordon-Levitt, Rosario Dawson, Bruce Willis, Eva Green, Powers Boothe, Dennis Haysbert, Ray Liotta, Christopher Meloni, Jeremy Piven, Christopher Lloyd, Jamie King, Juno Temple, Marton Csokas, Jamie Chun & Julia Garner

The original SIN CITY was one of my favorite movies during high school and hopes were high that Frank Miller’s amazing crime anthology would play out with the two sequels as a trilogy. Announcements for big name talent (including the original cast and the likes of Johnny Depp) were made and then the much-anticipated sequel was placed in development hell. Almost a full decade later, the second installment has finally been released and it was not worth the ridiculously long wait. Ironically, another Frank Miller sequel released this year bears some strong resemblance to SIN CITY: A DAME TO KILL FOR. That film would be 300: RISE OF AN EMPIRE. Both sequels are forcibly trying way too hard to duplicate what the filmmakers think fans liked about the originals and neither of them succeed well at it. DAME TO KILL FOR is a mixed bag in every way.

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A DAME TO KILL FOR follows the same format as the original SIN CITY. It’s a crime anthology with four noir tales that have recurring characters and an interlocking timeline. While the first film felt open and vibrant with every single detail being paid close attention to, this sequel feels confined and cheaper in many ways. The production values range from sometimes gorgeous to mostly corny. I don’t mean corny in the sense that things feel too far over-the-top (some intentional cheese works well), but corny in the sense that the world around our actors is fake looking. The visuals of 2005’s SIN CITY hold up well to this day and made me feel like I had entered a dangerous city filled with criminals. DAME TO KILL FOR feels like I’m watching a bunch of actors pretend in front of a green screen with silly looking CGI backgrounds around them. It feels like less attention was being placed on detail and more on pumping this thing out fast, but that’s not the real case because this had a nine-year-long production. The stories are as follows…

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JUST ANOTHER SATURDAY NIGHT: Marv (from HARD GOODBYE in the original) wakes from a drunken stupor surrounded by crashed cars, corpses, and blood. He tries to piece together what happened to put him in this situation from hazy memories. This opener lasts less than 10 minutes and introduces the vibe that things are more forced this time around. Some dark comedy is present and I had fun watching the style in which this tale played out, but the writing was okay at best. Marv’s make-up looks ridiculous on Mickey Rourke this time around and it hurts that he appears during every single story in some way or another. It should have been an early sign for disappointment that the memorable character with the most disturbing tale in the first film was in a campy opener this time around. B-

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THE LONG BAD NIGHT: This first full-blown tale is the best segment in the film and up to the caliber of the original flick. I wouldn’t call it only good, but pretty awesome as a whole. Johnny is a gambler with a superb winning streak who visits Basin City (a.k.a. Sin City, duh) to play the most powerful poker game in town. He finds himself in over his head when he goes up against the corrupt Senator Roark (family member to a twisted priest, a cannibal serial killer, and a yellow-skinned pedophile in the first flick). Roark doesn’t take kindly to losing and Johnny finds himself against odds that he didn’t foresee when he leaves for a night on the town.

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Joseph Gordon-Levitt is a welcome newcomer to the cast as Johnny and Powers Boothe (briefly glimpsed in SIN CITY) takes center stage as the slimy Roark. It’s easy to hate the gambling villain and the story was fairly predictable, but a few twists did take me by surprise. I liked a reveal midway through that wasn’t so much of a shock but a nice direction to take the story. The ending of this tale is fantastic. It’s a poetic conclusion to the best story of the sequel. Also production values felt far better in this single story than they were in the rest of the entire film. A

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A DAME TO KILL FOR: The story is where the ride begins to get really bumpy. Dwight (from BIG FAT KILL in the first film) is a private investigator specializing in incriminating photos. When a femme fatale from his past contacts him about her abusive husband, Dwight becomes infatuated with the sexy Ava Lord and comes to find too late that the situation isn’t as simple as he expected. This tale was as by-the-numbers as one can get. There aren’t any unexpected twists and some lengthy side plot threads go nowhere.

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This also happens to be a tale where two recurring characters from the 2005 film are recast. The hulking bodyguard, Manute, was originally played by Michael Clarke Duncan (who passed away), but Dennis Haysbert doesn’t necessarily do a bad job of filling the part. He’s a hulking baddie who serves his purpose. However, Josh Brolin is terribly cast as Dwight, a role that Clive Owen owned. Brolin has none of the charisma or charm that made the character so damn enjoyable to begin with. Eva Green (who served as the best performer in 300: RISE OF AN EMPIRE) bares it all here (literally), but isn’t much of a character. She merely plays out as means to an end. The worst part about this second-to-last tale is that it takes up a majority of the running time, so much so that this sequel is titled after it. C

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NANCY’S LAST DANCE: Picking up shortly after YELLOW BASTARD from the original film, Nancy Callahan is looking to avenge her dead lover/protector John Hartigan. To do this, she hardens herself and aims to kill Senator Roark. Her plan encounters some difficulties along the way. DAME TO KILL FOR commits the worst sin any anthology can by ending on its weakest note. This tale with direct ties to one of the best stories from the first film is dull, sloppy and anti-climactic. It was so bad that I was hoping the movie would just get to the final scene that everyone knew was coming. Nothing more can really be said about this story other than it’s poorly acted, written and played out. D

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To say SIN CITY: A DAME TO KILL FOR is underwhelming would be an understatement. The main returning cast members from the original come in Bruce Willis (showing up for an extended cameo), a few side characters (including a gloriously wasted Rosario Dawson as murderous hooker Gale), Mickey Rourke as a silly looking Marv, and Jessica Alba shakily trying to take on a lead role in a dark segment. It speaks volumes that the most interesting character (Dwight) only appears for one segment, while the wooden Nancy is throughout every single one of them. Marv, one of the most colorful characters from the original, is turned into a dull brute and that’s all the personality he’s given. After a nine-year wait, I sat in a theater with about six other people on opening night. When the movie ended, a person behind me exclaimed “That’s it?!?” Those two words are likely to summarize most fans’ responses to SIN CITY: A DAME TO KILL FOR, including mine.

Grade: C+

SIN CITY (2005)

Review by Derrick Carter

Running Time: 2 hours 4 minutes

MPAA Rating: R for Sustained Strong Stylized Violence, Nudity and Sexual Content including Dialogue

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Directed by: Frank Miller, Robert Rodriguez & Quentin Tarantino

Written by: Frank Miller

(based on the SIN CITY graphic novels by Frank Miller)

Starring: Bruce Willis, Mickey Rourke, Clive Owen, Rosario Dawson, Jessica Alba, Nick Stahl, Josh Hartnett, Powers Boothe, Michael Madsen, Jaime King, Elijah Wood, Rutger Hauer, Benicio Del Toro, Brittany Murphy & Michael Clarke Duncan

With the long-awaited sequel (almost a decade since the first movie) coming right around the corner, the urge hit me to rewatch SIN CITY. To be perfectly honest I haven’t seen this movie in five years, though it was a favorite of mine in high school that I viewed repeatedly. Frank Miller, graphic novelist behind 300, and Robert Rodriguez (along with a brief bit by Tarantino) brought to life the gritty crime stories of Frank Miller in a beautifully made film. This was one of the first films to be constructed in this kind of visual fashion that other movies would use further down the line (e.g. 300 for a good film and THE SPIRIT for a bad one). All the beautiful spectacle in the world cannot save a film that lacks in the writing department, but luckily Frank Miller’s stories are brought to life frame for frame. As in there wasn’t even a full writing credit on this film, because everything was right out of Miller’s books.

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For those who don’t know (a surprisingly large amount out there), SIN CITY is composed of four different crime stories that weave and intersect around each other. Think PULP FICTION loaded with even more over-the-top gratuitous violence that also packs a depressing and dark edge. The main thing I can see turning people off SIN CITY is how damned dark it is. However, some stories inject crazy humor into the mix and go into ridiculous territory that remind the viewer they’re essentially watching a live-action comic book. I’m going to tackle each story individually to address the pros and cons of all four tales, but the movie is absolutely gorgeous to behold. Extreme care and attention to detail was put into every frame to bring Frank Miller’s gritty city landscape to life and the sinful citizens inhabiting it. So without further ado, on to the four stories contained within 2005’s SIN CITY…

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THE CUSTOMER IS ALWAYS RIGHT: Serving as an opener and closer to the film, these two brief segments welcome to the viewer to the nasty world of SIN CITY and bid them on their way right before cutting to credits. Josh Hartnett plays a character known only as The Salesman. He woos two different women and harbors a dark agenda. This story lasts under five minutes, but keeps a level of mystery around the Salesman character that makes you want to know more about him. This information is never given and never will be, but Josh Hartnett knocks it out of the park with his charismatic and foreboding performance. The opening bit also serves as a nice introduction to just what kind of tone the entire movie will have. A+

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THE HARD GOODBYE: If there’s a single story that I would point out as my least favorite in SIN CITY, it would be HARD GOODBYE. It’s not as if the story is terrible, because it is actually very creative. It follows Marv, a scarred and thuggish individual. He’s just had the time of his life with Goldie, the one hooker who has ever accepted his love. After waking up from a drunken stupor, Marv finds Goldie murdered in bed with him and he’s framed for the crime. Unfortunately for the corrupt cops and a powerful family, Marv is a lunatic who has no problem with hurting anyone who gets in his way or applying vicious torture techniques in order to get information. Mickey Rourke’s misshapen giant is a gentleman to ladies, but is more than a little eager to get his hands dirty on the male scum of Basin City (a.k.a. Sin City).

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The only flaw I find in HARD GOODBYE is how damned dark and mean-spirited the whole story is. It might seem silly to complain about brutality in a movie called SIN CITY. It’s also worth noting that this film originally received an NC-17 from the MPAA and had to go through some edits in order to secure an R rating. Most of these edits most likely come from HARD GOODBYE as it’s nightmarish at points. Elijah Wood pops in for a memorable role that doesn’t have a single line of dialogue. This story also has the most depressing ending of the bunch. It’s phenomenally made and vicious, but it’s also downright unpleasant at points. As well-made as this film is, I’m glad this story was fired early. A-

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THE BIG FAT KILL: Things go from depressing to really entertaining in this story involving gun-totting prostitutes, a hardened man named Dwight, and quite a lot of gangsters. After kicking his girlfriend’s abusive drunkard of an ex out of her apartment, Dwight is convinced that he’s up to no good and follows him into Old Town. This section of the city is full of hookers who will give you the night of your life if you follow the rules or be the death of you if you try any funny stuff. Murder, chaos, and a race against time to cover up a bad mistake ensues. I don’t want to say too much about this story, because some of the enjoyment comes from how wild things get and the unexpected turns the plot takes. BIG FAT KILL is a nice pick me up from the depressing previous story and packs a lot of absurd humor that makes it the most entertaining segment of the movie. I would even go as far as saying that this is my favorite tale of the four being told. A+

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THAT YELLOW BASTARD: The final story actually begins before HARD GOODBYE and then picks up after BIG FAT KILL. John Hartigan is one of the last honest cops in Sin City. They’re a rare breed, in case you can’t guess from the title nickname of Basin City. Hartigan has been on the trail of a pedophile/child-killer who happens to have powerful connections. John puts a few bullets in the psycho and saves an eight year-old girl named Nancy, but finds himself framed for the crimes. Eight years after being locked up, Hartigan is a free man and tries to protect Nancy from the now yellow-skinned psychopath who wants revenge. The plot of YELLOW BASTARD is predictable, but is very cool to watch unfold to say the least. This is the a more character driven story that is actually given a decent amount of time to make you care about John and Nancy. Sympathizing with them makes everything to come that much more gripping. One of the more grotesque deaths you’ll see in cinema occurs in this story and it couldn’t have happened to a more deserving character. Predictability aside, this story delivers on every level. A+

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SIN CITY works in visually capturing a comic book brought to life, but also has Frank Miller’s stellar writing behind it. Every single actor and actress, including usually less-than-great Jessica Alba, gave exactly what was needed of them in their characters. The biggest strength is that all four stories (despite how short they actually are) could fill a four separate movies worth of material and still be rock solid. Packing them all inside a barely over two hour long running time leaves no room to drag and captured my attention from frame one. There are lots of things to like in SIN CITY. The beautiful visuals are merely icing on the cake as the movie moves from emotional and cold to dark and grim to strangely funny and all around amazing. There was never anything quite like SIN CITY before it came along and even if this ten-year-delayed sequel doesn’t deliver on the promise of delivering more great material, then we’ll always have this perfect noir that stands as a cinematic landmark of sorts.

Grade: A+

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