Reviews provided by RottenTomatoes
Detroit Free Press:
A redemption saga as overripe with religious allegory as it is anything else, in search of a confession booth or maybe just the hard stuff straight up or even a cold shower. But you won't simply leave it behind. It hurts too good.
Once the novelty of its considerable razzle-dazzle wears off, the film just sits there, because Rodriguez has made one simple, but fatal, mistake: As cinematic as they are, Miller's graphic novels aren't movies.
Miller's many fans are likely to hail this as a masterpiece. Rarely has an artist in one medium been so loyally served by another.
A movie of such high style, done in such a spirit of electrifying fun and creativity, that it kisses the blood right off its own violent hands.
Wall Street Journal:
While Sin City on screen evokes the same feeling of bottomless decadence and dread that the novels do, there is one crucial difference -- you can put the novels down.
Its creators invent a queasily intoxicating new world.
Every now and then, a movie does more than gamely defend the status quo but actually advances the art form. So it is with Sin City, a stunning, brutal vision of a city gone mad.
Los Angeles Times:
The movie feels like a reductive exercise. Rodriguez might have accomplished what he set out to do, but I'm not sure he's done anyone any favors.
With a huge, well-chosen cast and the blessing of Miller, who was on set as Rodriguez's co-director, Sin City is a gloriously stylized world unlike anything you've seen before on screen.
Except for the striking images, it starts to fade even as you're watching it. It is such a bold and striking movie, however, that for the first time we can appreciate the full potential of what Rodriguez has wrought.
Paul Clinton (CNN.com),
Without doubt the most visually stunning live action transfer of the comic book format to the big screen ever made.
This big-screen treatment of Miller's graphic novels is a soft- core marathon of stylized mayhem, flesh-pot excess and cinematic pretense.
Dallas Morning News:
Sin City is one of those films that you know going in is either going to be super-cool or ultra-awful. And in this case, depending on how you look at it, you can't lose or you can't win, because it's both.
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.
Sometimes it all seems as schematic as a theme park attraction. Mostly, though, the movie comes across like the fever dream of a smart, put-upon adolescent who'd been up all night watching every black-and-white crime movie made since the sound era.
Undeniably exciting, and as close to a comic book as the movies have ever gotten. It's a fun ride.
New York Daily News:
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.
New York Times:
Sin 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.
Watch it, listen to it. Just don't chew on it too much. It's not great art, and it's not great literature. It is just the flat-out coolest looking movie to come along in years.
There's something to appreciate around every corner -- the gritty characters, the uncompromising story, and, most of all, visuals to astound and amaze.
It's a visualization of the pulp noir imagination, uncompromising and extreme. Yes, and brilliant.
It's a hard, viciously funny little movie, one with all the subtlety of a billy club. But there's artistry here, too.
San Francisco Chronicle:
To remember Sin City hours later is to remember from a different part of the brain that remembers conventional movies.
I loved it, I loved it, I loved it. I loved every gorgeous sick disgusting ravishing overbaked blood-spurting artificial frame of it.
Minneapolis Star Tribune:
I can't endorse the content, but I can't dismiss the presentation. Sin City is superlative filmmaking in service of a poisonous view of humanity. It's a dangerous work of art.
Globe and Mail:
Sin City gives sin a great name -- it's never been more plentiful or looked so gorgeous. What a visually stunning film this is.
You've got to hand it to Miller and Rodriguez. Their Sin City is no place for tourists.
For all its astronomical body count, Sin City is brazenly, thrillingly alive.
The look of it remains exceptional, a high-contrast monochrome showcase of sheeting rain, shattering glass and white-on-black silhouettes, with occasional motifs picked out in vivid colour.
While the book succeeded in pushing the boundaries of its medium, the film merely feels like a triumph of technology.
It'll be interesting to see how time treats City's novelty value once live action/computer screen hybrids become more common. Right now it looks like one of the movies that will define its year even more than the Kill Bill duo did.
Miller's world of rough customers living on the wild side possesses a sordid allure, which the directors dazzlingly deliver to the screen.
Rodriguez and company have so faithfully captured Miller's essence, there's something beautiful about the whole thing. It's an act of inspired reverence.
Two hours and six minutes has never seemed so much like two and six-tenths seconds. It's pure pulp metafiction.