Does anybody care how Manute lost his eye? As fun as it is to see Josh Brolin transforming into Clive Owen, did we really need to see Dwight again? Is Nancy Callaghan’s story crying out for a resolution.īasin City is a large sprawling metropolis with a diverse social structure. It seems like most of the two stories framing the movie exist to reference events from the first film – answering questions that nobody asked. Similarly, there’s a strange emphasis on continuity and connections in A Dame to Kill For. His narration seems more indifferent than world-weary, mumbling through lines he utter with more conviction last time around. Rourke doesn’t seem to be trying this time around, instead basking in the role. Sin City was a career reinvention, A Dame to Kill For is just another lap around the block. Whereas Rourke found the humanity in a human punching bag at rock bottom in Sin City, here he feels like a star doing a favour. With all that in mind, it’s no wonder that Mickey Rourke gets title billing on A Dame To Kill For, gets the intro to himself and appears in all three segments. Marv may not have been a nice guy, but it was easy to side with him as the city itself seemed to press down against him. Talking in Frank Miller’s hard-boiled clichés and lumbering through the black-and-white frames like a living cartoon, Rourke found Marv’s humanity – turning him into the heart and soul of Sin City. As played by Rourke, Marv seemed almost tragic.
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