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100This isn't an adaptation of a comic book, it's like a comic book brought to life and pumped with steroids.
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88The most visually inventive comic book adaptation to make its way to a movie screen.
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70But once you're good and drunk on the look, details like the tin-eared tough-guy dialogue (which sounds especially stilted issuing from flesh-and-blood mouths) don't seem so important.
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75This is noir on steroids, cartoonishly ultra-violent and drawing inspiration from Mickey Spillane novels and E.C. comics of the '50s.
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88The worst thing I can say about this savage, sexy and ferociously funny screen translation of three stories from Frank Miller's Sin City series of graphic novels is that it's too much of a good thing.
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100A movie unlike any other.
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58Glued tightly from page to screen, Sin City is so seduced by the visual possibilities of sin that style becomes its own vice.
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88Tarantino may have nicked the title first, but this is the real ''Pulp Fiction," with all the drama and the dead ends that implies.
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50Mr. Rourke's performance is quite phenomenal, a case of unquenchable talent bursting the bonds of dehumanized artifice.
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100It's a guaranteed must-see for its generation. Sin City has a long, long shelf life ahead.
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89Honestly, this ultra-noir adaptation of Frank Miller's black-and-white cult comic series is a visual feast ripped straight from the original medium's blood-soaked pages.
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70Rodriguez's evident delight in the form make this a worthwhile piece of eye candy.
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63Sin City is always moving on to the next thing, and despite surprisingly good work from its large cast (especially Rourke and Owen, who are both outstanding), the picture feels synthetic and artificial.
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75Sin 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.
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25Everything here has been done better in other books, other movies. The lone remarkable thing is the level of violence, which exposes the cowardice and hypocrisy of the Motion Picture Association of America's ratings system.
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91Some things in Sin City are almost too much to watch: the violence, the cruelty, the irredeemable evil. But it's irresistibly magnetic because it serves as a barely distorted mirror to our world.
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75Sin City gives sin a great name -- it's never been more plentiful or looked so gorgeous.
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80For geeks, action freaks and sensation-seeking teenage boys of all ages, the price of admission will provide a one-way ticket to hard-boiled heaven.
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88Sin City is an evil place, full of awful people, an obsessive movie full of monomaniacal tough guys. Yet when Miller and Rodriguez move it into gear, noir lives.
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0The attainment it achieves is in the depths of pointless, mean-spirited exploitation.
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50Sin City is a seedy tribute to rugged masculinity disguised as a rogue's gallery, all the better to please college boys who like their sentimentality slicked with grunge.
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90Sin City is the first mainstream American picture I've seen this year that feels even remotely brash or original. It's a hard, viciously funny little movie, one with all the subtlety of a billy club. But there's artistry here.
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40Eye-popping yet ultimately thin and shallow as a page in a graphic novel.
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40Sin City lacks the human interest, not to be confused with humanism, that "Pulp Fiction" had in abundance. As if to underscore the fact, Tarantino guest-directed a scene. It's readily recognizable as the only one in which the dialogue has the slightest conviction.
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88Occasionally very funny, the picture tends to coast on its cosmetics. A first-rate script might have made it a twisted masterpiece.
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70Sin City has been made with such scrupulous care and obvious love for its genre influences that it's a shame the movie is kind of a bore.
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80Sin City draws on the cumulative history of both mediums, creating a pastiche that would have been technologically impossible even three years ago. Its creators invent a queasily intoxicating new world.
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100Two hours and six minutes has never seemed so much like two and six-tenths seconds. It's pure pulp metafiction.
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100Sin City is brazenly, thrillingly alive.
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50After half an hour spent drooling over its visual splendors, I found the movie every bit as sickening as its creators intended it to be, minus the kicks they so palpably got out of making it.
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100I 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.
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50What binds and clads the new movie most thoroughly, however, is not storytelling but the high pressure of atmosphere.
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50For a relentlessly violent and exploitive noir knockoff, Sin City is mystifyingly flat and static - cartoonish, even, if you want to get tautological about it.
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80Rodriguez clearly assumes Sin City to be his "Pulp Fiction," his rambling portmanteau--a blending of disparate tales to form a complete, overwhelming epic.
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80For the guys it's Rodriguez's best film by far and a treat for fans of good-looking girls in black-and-white, of classic film noir and of imaginative ultra-violence.
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88A rough-and-tumble magnum opus of digital filmmaking that thrillingly basks in the sick, slick, sexy and quick-witted excesses of its imaginatively mutant stylizations.
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100The visually stunning Sin City has grit to spare and a thrilling undercurrent of morality.
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To say that Sin City is a guy movie - and an often brutally misogynist one, at that - would be an understatement.
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80Rodriguez slams down the sledgehammer with so much brutal, punishing force, there's no room to breathe.
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80It's gory stuff, but it's also a visually arresting blitzkrieg with action so bare-knuckled you'll leave the theater spitting out teeth.