· Powers Boothe attends the 2014 Los Angeles premiere of Sin City: A Dame To Kill For. He won an Emmy Award for playing cult leader Jim Jones in a 1980 TV movie.

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Theatrical & Recut, Extended, Unrated. Sin City (2. 00. 5). Sin City Blu- ray comes close to perfection with top scores all around making it one of the best Blu- ray's ever. Welcome to Sin City.

Robert Rodriguez and Frank Miller reunite. Weaving together Miller's classic stories with new tales, Sin City's hard-boiled citizens once again cross paths with more. Nude celebrity MP4 movie clips of Jessica Alba.

This town beckons to the tough, the corrupt, the brokenhearted, some call it dark. Hard- boiled. Then there are those who call it home.

Crooked cops. Sexy Dames. Desperate vigilantes. Some are seeking revenge. Others lust after redemption. And then there are those hoping for a little of both. A universe of unlikely and reluctant heroes still trying to do the right thing in a city that refuses to care.

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For more about Sin City and the Sin City Blu- ray release, see Sin City Blu- ray Review published by Kenneth Brown on April 2. Blu- ray release scored 5. Directors: Frank Miller,Robert Rodriguez,Quentin Tarantino. Writer: Frank Miller.

Starring: Jessica Alba,Devon Aoki,Alexis Bledel,Powers Boothe,Rosario Dawson,Benicio del Toro» See full cast & crew. Sin City Blu- ray Review.

Unsettling, unconventional, and undeniably mesmerizing.. Reviewed by Kenneth Brown, April 2. The Spirit may have brought iconic artist/writer Frank Miller's filmmaking potential into serious question, but it hasn't sullied his reputation for penning groundbreaking, genre- bending tales filled with compelling anti- heroes, corrupt fatcats, and ruthless villains. Such is the legacy of Miller's ultraviolent, multifaceted neo- noir series Sin City, an engrossing series of intertwined comics that not only pushed the veritable envelope in every conceivable way, but managed to infuse biting, poetic prose and raw imagery with startlingly relevant examinations of love, lust, and loyalty. It was this same legacy that inspired director Robert Rodriguez to approach his first cinematic adaptation of the material with the utmost respect. From the earliest fanboy buzz to the most tantalizing glimpses of stunning finalized footage, it was clear that Sin City was going to be a film unlike any other.

Upon its theatrical release, Rodriguez's unwavering devotion to Miller's source produced something few filmmakers have ever achieved: an indefinable work of art that defies expectation, confounds tradition analysis, and promises to stand the test of time. Bookmarked by a short of sorts involving a suave hitman (Josh Hartnett) and his prey, Sin City is divided into three nonlinear, overlapping stories. The first follows a hardened heap of stone named Marv (a nearly unrecognizable Mickey Rourke) who's framed for the murder of the love of his life: a yellow- haired prostitute named Goldie (Jamie King). As Marv's investigation leads him to a twin sister, his parole officer (Carla Gugino), a group of vindictive working girls, and, eventually, the home of a renowned Basin City Cardinal (Rutger Hauer), he winds his way deeper and deeper into a city he adores. Eventually, he encounters a vicious cannibal (Elijah Wood) and a horrible truth that leads him to question his feelings, his future, and his purpose. Rodriguez and Miller's second tale introduces a woman named Shellie (Brittany Murphy) who's threatened by her shifty ex- boyfriend, Jackie Boy (Benicio del Toro).

When her current beau Dwight (Clive Owen) intervenes, the squirming whelp retreats and finds himself knee deep in blood at the hands of a hooker- with- a- machine- gun named Gail (Rosario Dawson). But when Dwight, Gail, and the rest of the girls (Devon Aoki and Alexis Bledel, among others) realize Jackie was actually a police officer, they have to ditch his body, avoid a gigantic thug named Manute (Michael Clarke Duncan), and preserve the already tenuous peace of the alleys. The third and meatiest pick of the litter focuses on a police officer named John Hartigan (Bruce Willis), a steady veteran who saves a young girl named Nancy Callahan (Makenzie Vega) from the clutches of the depraved son (Nick Stahl) of a powerful senator (Powers Boothe).

But when the stalwart cop is betrayed by his own partner (Michael Madsen) after pumping several bullets into the rapist in question, he finds himself sent up the river for Junior's crimes to endure a lengthy prison sentence. Released years later, Hartigan tracks down Nancy (Jessica Alba), now a stripper at a local club, to make sure she's safe.

Unbeknownst to him, the senator's son - - alive, well, and coping with a variety of deformities including hideous yellow skin - - has been using Hartigan to find Nancy and tie up loose ends. As the unlikely lovers are forced to contend with the very violent ghosts of their pasts, they have to exact justice on an unrepentant monster and come to terms with the seedy underbelly of Basin City. As conceived by Rodriguez, Sin City is a sprawling, breathtaking realization of Miller's stories that incorporates exceedingly faithful panel- to- screen visuals, unflinchingly brutal violence, and enough stylized gunplay to fill a dozen modern actioners. The seemingly endless reservoir of notable names he parades through the production is as impressive as it is perfectly cast - - Oscar- winning actors appear for mere minutes before disappearing, while relative unknowns steal scenes right out from under legendary heavyweights. It's a thrilling, unpredictable affair packed with unexpected deaths and multiple gut- wrenching climaxes. Yet calling the film a collection of shorts robs it of its cohesive brilliance; attempting to pluck out any one crucial support leaves the rest of the cards wavering in the wind. The screenplay itself plays with time, interconnectivity, and meaningful exchanges - - early asides and unrelated events are often revealed to have lasting ramifications for each character that calls Basin City home.

Rodriguez doesn't simply toss every character he can into a noir- tinted blender, he guides them into specific configurations with increasingly calculating reason. He doesn't just breathe life into his adaptation, he gives Miller's every ink blot and cross- hatch its own twisted soul. I know Sin City isn't for everyone - - its unforgiving gore and sexuality may strike some as gratuitous and unnecessary, its ever- present narration may elicit accusations of pretension, and its jarring tonal shifts may lose the uncommitted along the way - - but it's tough to deny that Rodriguez has delivered a dense and fascinating journey through the darkest corners of man's soul.

More to the point, even though its heroes are few and far between, righteousness is a fading commodity, and villainy continually rises to rule the day, the film offers a complex and bustling overview of a city spiraling out of control as despair takes hold of its best and brightest. In that regard, the film proves itself to be a well- cloaked masterwork that presents the eternal struggle between morality and depravity with ever- evolving intensity. Rodriguez and Miller may not want their work to be over- analyzed, but it doesn't change the fact that Sin City is a nuanced investigation into the things that separate man from monster. I for one am smitten. Every time I review a Disney Blu- ray release, I feel like busting out a stack of Hello Kitty stationary and sending a syrupy thank- you note to anyone involved with the disc's production. Before Marv even dropped his first body on the ground, I knew Disney had delivered the goods once again.

Sin City boasts a phenomenal, reference level 1. AVC- encoded transfer that, quite simply, blows most other releases out of the water.

I hate to gush too much, but every frame of Rodriguez's stark cinematography has been meticulously reproduced, his injections of color leap off the screen, and his enveloping gray gradients are impeccably precise. Even though deep blacks and harsh whites dominate the picture, crush is never an unintentional issue, artifacting isn't a factor (unless you're standing a foot from the screen), and contrast is spot on from beginning to end.

Frank Miller's Sin City: A Dame to Kill For (2. A Dame To Kill For isn't likely to create converts out of those uninterested in the pulpy side of fiction. But it more than earns its keep in terms of lavishing love, mildly ironic as well as pretty damn earnest, on pumped- up noir. August 2. 2, 2. 01.