Welcome to Sin City. 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.
Rodriguez and Miller's hyper-stylized adaptation earned broadly favorable notices for its visual invention and fidelity to its source material, but the film was also flagged by a data analysis as one of the most critically divisive of its era — and the reviews bear that out. Champions saw a bold reimagining of noir aesthetics; detractors argued that the relentless brutality, particularly its sexualized violence against women, left the film hollow at its core, offering spectacle in place of genuine feeling.
“it's a shame the movie is kind of a bore”
Manohla Dargis·The New York Times
“offers sensation without feeling, death without grief, sin without guilt, and, ultimately, novelty without surprise”
A. O. Scott·The New York Times
Crime, Thriller
Welcome to Sin City. 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.
Rodriguez and Miller's hyper-stylized adaptation earned broadly favorable notices for its visual invention and fidelity to its source material, but the film was also flagged by a data analysis as one of the most critically divisive of its era — and the reviews bear that out. Champions saw a bold reimagining of noir aesthetics; detractors argued that the relentless brutality, particularly its sexualized violence against women, left the film hollow at its core, offering spectacle in place of genuine feeling.
“it's a shame the movie is kind of a bore”
Manohla Dargis·The New York Times
“offers sensation without feeling, death without grief, sin without guilt, and, ultimately, novelty without surprise”
A. O. Scott·The New York Times
Crime, Thriller