Short bio: Computer Scientist, FOSS supporter (read more)
Tux Machines (TM)-specific
transient0 on kuro5hin states, "This is the movie that comic book fans of the generation that calls them "graphic novels" can finally go see and not feel like Hollywood has tragically misunderstood them. The big studios have taken our Spider-men, our Punishers and our Hulks, but always have they turned up their powdered little noses at our Sandmen, our Watchmen and our Mausen. Well, no more."
"And, after all the witty dialogue has been delivered, all the thrilling action sequences have sequenced themselves away and the last perfect breast has retreated into venetian blind cast shadows, the thing that sticks with you from Sin City is its uncompromised style. With it's faux-monochrome filming, not-quite-real backdrops and computer effects that are used consistently enough to not be gimmicks but skillfully enough to not be cheesy, it can not be argued that you are seeing something truly unique. And in case you aren't sure just what it is, let me tell you: You are seeing a comic book movie done right."
After a wonderful summary and review, he ends by stating "The violence may be too much for the queasy, the self-aware humour may be too much for the diagetic purists and the visual style may be too much for those with more cynicism than taste, but in the end Sin City must be appreciated for the simple fact that it is something new. And let's just hope that it is only a taste of things to come."
Jason Silverman on wired.com writes, "And then there is the snow. Even with all of this carefully choreographed gore, I still found a blizzard to be Sin City's most powerful visual effect. In the film's final story -- Sin City weaves together three pulpy tales -- the flakes fall quietly and steadily, and they are luminescent, magical and gorgeously artificial."
He continues his review from a more technical viewpoint and states, "Sin City instead uses pixels. With its 3-D digital backdrops and sophisticated tweaking of colors (the film is black and white, with a few reds, oranges and sepia tones tossed in), Sin City exists in some previously unexplored zone between full animation and traditional live-action films."
Silverman concluded, "Sin City is by a significant margin his most sophisticated digital work -- the first live-action film I've seen, with the possible exception of 28 Days Later, where digital video feels more like an opportunity than a compromise.
This is a vivid and exhilarating work. Viewers need not understand Sin City's technical breakthroughs to appreciate it. But a strong stomach does help."