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If the hard-boiled black and white treatment in these posters is any indication of the aesthetic rule used to make the movie version of Sin City, it can only mean that the film adaptation coming to theaters this April will either be absolutely brilliant or embarrassingly cliché. And since it’s next to impossible for me to speak about any Frank Miller project without revealing a true fanboy status, I’ll simply say that his “co-direction” of the movie has got to be the best gift he’s ever gotten.

As for the rest of us, we’ll just have to wait and see.

Much like Tarantino’s work, audiences are likely to react with extreme like or dislike to this gritty and violent comic book world, which marries murder, mayhem, sex, religion, and something else so horrendous I’m afraid I might spoil the fun (hint: Elijah Wood ain’t playing no Hobbit in this.).

Undoubtedly, Sin City was one of Miller’s best works. So, the attention to detailing each frame with the distinct look of pen and ink, just as it appears in the graphic novels, should only be a plus. After all, with the amount of influence Miller’s probably had on contemporary film in character development and action sequencing, much of the surprise may run the risk of appearing par for the course in today’s Hollywood. I have a feeling, though, that the inspiration from comic book to movie and from movie to comic book is mutual, if not symbiotic.

This entry was posted on Thursday, March 10th, 2005 at 12:21 pm and is filed under culture, film. You can follow any responses to this entry through the RSS 2.0 feed. Both comments and pings are currently closed.