Sin City, where everything is shrouded in a dark night, where there is no benevolence, no shame or even light, where there is only power, only violence, only endless darkness. In this sinful city, the church and the bureaucracy collude with each other and run amok. They commit adultery and plunder, they eat their own kind, they do no evil, and their deeds are inferior to those of beasts. They wield power, they play with the law between their palms, they turn their hands into clouds and their hands into rain; powerful institutions become tools for the few. In Sin City, the madman and the mob become heroes, they despise the powerful, protect the weak, punish the evil and promote the good. They use their quick minds, quick hands, and hard fists to fight against the law and challenge the mighty.
The men and women in Sin City were torn apart by life. Women are a symbol of love, and even in this dirty and ugly city, there is still no way to hide that warmth. They bring light and strength to men with love. The three stories in the film illustrate three kinds of love: "Sin City" tells a story of beauty and the beast, and the three-hour collision between the prostitute Getty and the beast Muffel, which is a brief love affair, but gives Muffle a warmth and understanding that she has never felt before, and Getty becomes the sacred and inviolable goddess of Muffle.
"The Big Fat Kill" tells the story of a pair of joyful rivals. There is a complex and delicate relationship between the killer Dwight and the prostitute Shirley, they are a resentful couple, usually hurting each other and torturing each other's emotions. But once Shirley is threatened, Dwight fights to the death, and the same hatred is a declaration of their love.
The story of "That Yellow Bastard" is more complicated, Hardy and Nancy's emotional path is relatively long, after eight years, eight years ago, Hardy and Nancy had a similar father-daughter love; eight years ago Nancy was The driving force for Hardy's survival; eight years later Nancy fell in love with her hero, and Hardy, Hardy chose self-sacrifice in complex emotions. Men are divided into two opposing camps in Sin City, with Muffel, Dwight and Hardy representing the good side of men, no matter how good they look, how high or low they are, they know how to love and be loved, know how to pay for love, sacrifice for love, and finally get redemption; while the members of the Locke family and the deputy sheriff represent the evil side of men, they have the unique advantages of wealth, status, power, etc., but they do not know how to love and be loved, trample on love, and even despise women, abuse their flesh, of course, In the end, their fate is more sad than the other.
The structure of the film is very unique, three separate stories are made into a perfect circle, the beginning is the end, the end is the beginning, in Sin City, the violent killing never stops. There is no necessary connection between the three stories, each character in the movie is only the protagonist of his own story, and the characters in one story only appear randomly in another story, which has no special significance.
"Sin City" has a distinct style, in the 120-minute black and gray film, the different shades of black dominate the entire screen, and the black thorns stimulate our eyes. Black night, black ground, black city, road, building, actor's costume and props are also mostly black. Off-white is another main color of the film, and it appears only for black, in order to make the audience more clearly distinguish black. Occasionally, the film uses extremely brilliant spectral colors, such as the feminine blue eyes and seductive red lips of women, the disgusting pus-like bright yellow skin of the wicked "bastard", and a very small amount of bright red blood. These spectral colors appear only when they express strong feelings, and the visual effects they produce are extremely shocking.
The film vividly shows the aesthetic of violence, and does not stop fighting from beginning to end. Gunfights and hand-to-hand combat ensued, with short axes, long knives, darts, and bows and arrows taking turns, and the exaggerated action design in the fight went straight to "Kill Bill 1 and 2", while the cruelty of beheading, amputation, violence, and corpse splitting even surpassed Fukasaku Shinji's "Battle Royale". Blood and gore are the result of an aesthetic of violence, but fortunately blood and gore are drowned in the black and gray of the film, otherwise Sin City would have been among the most BT films of all time. Even so, it challenges the limits of the average audience and brings a complete release to human tyranny