Tag Archives: Sin City

Alita: Battle Angel (2019)

You’d certainly be forgiven for thinking Alita: Battle Angel to be a new movie by James Cameron. It gives off his scent in more ways than one, but primarily in the union of completely gangbusters special effects and a completely lackluster script. Cameron’s credited as a producer, though, not that the title of “producer” can actually ever have one single definition. Based on the manga series Battle Angel Alita, the film adaptation is in actuality directed by Mexico Trilogy and Sin City helmer Robert Rodriguez, the guy who once claimed his approach as “Mariachi-style” — in which “creativity, not money, is used to solve problems.” There’s an immediate discordance between that approach and the mere notion of James “Titanic” Cameron, and Alita very clearly exhibits the latter’s big-budget sensibility at the expense of an underdog’s incumbent creativity.

Which is a shame, because that’s ostensibly what Alita is about. The title character (played by Rosa Salazar) is a spunky cyborg with a mysterious past, brought back to life by kindhearted scientist Ido (Christoph Waltz) in a war-torn world all but discarded by the elite who reside on a giant floating city in the sky. “Lower” and “upper” class are literalized, and promise of ascension to that higher world is enough leverage to get anyone to do anything. The setup is nearly verbatim to that of Elysium, with an impending reckoning between the rough-and-tumble Earth-dwellers and those nasty domineers above. But the reckoning never happens, despite a colossal amount of exposition pointing in that direction, and apart from a useless cameo (more on that in a second) we never even glimpse one of those nasty domineers.

Continue reading Alita: Battle Angel (2019)

Advertisements

Jailbreakers (1994)

You know Frank Miller, right? The comic book guy. No, you’re thinking of Alan Moore. Yeah, that’s right, the 300 guy. He’s done other stuff, though, far better stuff, like Sin City and Ronin and a fantastic run on Daredevil. He did the Daredevil book Born Again and the Batman books The Dark Knight Returns and Year One, all of which might legally be deemed works of genius. For a while he was one of the masters. Then, as so often happens with young artists who garner those labels — “genius” and “master” — Miller produced a string of decidedly less-than-masterful works that included the lukewarm Returns sequel The Dark Knight Strikes Again and another Batman book called All-Star Batman and Robin the Boy Wonder; the latter is largely derided for the portrayal of Batman as a psychotic child-abuser, which is a new one. There are a few more stinkers, but they all get the pass in comparison to Miller’s latest book (ahem, “book”): Holy Terror. This is a story (ahem, “story”) so undercooked that it makes one wonder if Miller forgot to turn the oven on altogether. It’s somehow impossibly offensive and impossibly dull at the same time. Holy Terror is without a doubt Frank Miller’s most abominable creation, and unfortunately that’s saying something.

William Friedkin isn’t exactly the Frank Miller of film, but if he was, Jailbreakers would be his Holy Terror. The fact is that the Frank Miller of film is Frank Miller himself, who helmed his Sin City in 2005 and followed it with the increasingly awful The Spirit and Sin City: A Dame to Kill For. But Friedkin, for a time, had a career in cinema that seemed to be following the hugely disappointing formula that Miller’s laid in comics. For an exhaustive breakdown of the early struggle, the well-earned rise, the questionable fall, the lull, and the eventual redemption of the director known as William Friedkin, I highly recommend this piece by Dissolve‘s Noel Murray. In fact, Dissolve‘s entire Career View column is highly recommended. In fact, Dissolve‘s entire catalog is highly recommended.

Continue reading Jailbreakers (1994)

Desperado (1995)

As an avid guitarist, there’s a special place in my cold and shriveled little heart for the opening credits scene of Desperado. There are hundreds of popular movies about guitarists, some of which are really great (like Sweet and Lowdown and School of Rock) and some of which are really not (like Rock Star and Crossroads…wait, that’s the Britney Spears one). In the pantheon of Guitar Flicks — which, by the way, should totally be a genre on its own — Desperado might be close to the top, but it certainly isn’t the best movie available. Still, there’s something unique about the way Robert Rodriguez treats the guitar, and something especially mystical about that credit sequence.

Rodriguez’s entire Mexico Trilogy follows the same guitar-playing assassin, and there are probably arguments to be made for Desperado not even being the greatest entry in its own trilogy. While 1992’s El Mariachi was definitely improved upon in subsequent entries with the recasting of Antonio Banderas as El, Rodriguez’s debut feature still plays well as a standalone opener and a part of the larger trilogy. It’s without a doubt the most “realistic” depiction of a guitarist (at least at the beginning), and El’s attempt at finding a gig in the local saloon is probably one of the most gratifying scenes for any musician who’s spent time attempting the same.

Continue reading Desperado (1995)

Sin City: A Dame to Kill For (2014)

Lest anyone get too comfortable watching good movies, Sin City: A Dame to Kill For flawlessly and disappointingly checks all the boxes on the Sequel Checklist. Six smashed windows, fourteen severed heads, incalculable gory kills. A death from the first movie is a major plot device and a character says the subtitle of the movie in the movie. Eva Green has 42 minutes of screentime and is naked for 39.5 of them.

And while most of those stats are made up, A Dame to Kill For still ends up being one of those movies you want to like only because you liked the first one. Like the 2005 original, the sequel divides time between several main characters, most of whom are the same main characters from the first movie. Marv and Dwight are back with Mickey Rourke reprising the former and Josh Brolin taking over for Clive Owen on the latter; Jessica Alba is back as Nancy, out for revenge after the events of the first film; Bruce Willis comes back as John Hartigan, but he’s really just a ghost because he died in the first movie and cute little Haley Joel Osment hasn’t gotten around to telling him he’s dead yet.

Joseph Gordon-Levitt is new as the gambling Johnny, who gets in deep with the villainous Senator Roark and provides the best scenes in the movie. Unfortunately, his story is noticeably shortened in favor of Marv’s, Dwight’s, and Nancy’s.

Basically A Dame to Kill For has the same ingredients as the first film and, despite the nearly decade-long gap between releases, it’s obvious no one spent the time to put those ingredients together. There’s probably a comparable number of death-by-sharp-thing moments, but no one we care about is ever the one being killed. There’s more than enough nudity, but it’s a blatant and tasteless display, and the kind that makes me feel the need to type it out as NUDITY because it’s virtually written in BIG NEON LETTERS. Eva Green is highly attractive but not that great of an actress, and the NUDITY very nearly distracts from that fact. NUDITY.

While the hyperstylized black-and-white occasionally lends itself to some brilliant imagery (especially in a night scene at the pool), the second Sin City just can’t hope to recapture the razor-sharpness of the first.