Well, you can’t deny that it looks good. It may not be all that different from the original visit to Basin City in feel and tone or theme, but you might well question if the stories and the characters are even the most important aspects of this kind of cinematic event, for that is what it is.
Miller and Rodriguez share directorial responsibilities this time around yet come unstuck in the same way they did the first time, with such a lop-sided ratio of style over substance as to make actually following the plot practically irrelevant. Yes, the stories are there, but you never get the feeling that either Miller or Rodriguez are that concerned about the telling them. Half -arsed narration of half-arsed tales only perpetuate the revenge and passion that is required to make the scenes look good. The feeling for the audience is somewhat barren, even if visually, the enjoyment is very well served.
Almost all (no Clive Owen, most notably) of the old gang are back and with a few very watchable additions (fronted by a visually striking Eva Green) and they all appear to be carrying around the same emotional baggage they had the last time we met them. Nothing seems to have changed in Sin City and the problems faced by the characters are still just as ruled by personal satisfaction as ever.
Sin City, as a concept is very insular to begin with and the selfishness of these characters will test the patience after a while as whilst perhaps honest to an extent, they’re just not very admirable, making engagement with any of them a little bit tricky. Given that these character as so one-dimensional, it comes as no surprise that the audiences will take comfort and solace in reveling in the visuals and ultra-style, which cannot be faulted. The look is sumptuous to the point of becoming visually indigestible in places.
I’ve said it before, but Sin City as a project was like a Chinese take-away. Very fulfilling and delightful on the tongue, but an hour after you’ve finished it, you’re still wandering about your kitchen looking for something to nibble on. And this sequel is much of the same. A Dame To Kill For is akin to what you imagine Kate Moss is like (don’t know her, so apologies in advance), lovely to look at and brimming with style, but when subjected to it for any length of time, the magic will wear off and you’ll find you have nothing more than a pretty, visually arresting, little trinket that isn’t actually good for much.
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