The third film in the junior James Bond series takes a turn into private eye fantasy and then a dazzling (and often absurdly silly) trip into a virtual reality video game.
The second film in Robert Rodriguez’s junior James Bond fantasies takes them to a sweet mad scientist creating preposterous dream-creatures hatched with a childlike love of puns.
Incoherent, absurd, confused, and strangely fascinating, this bizarre adventure is Grimm fairy tale, Gothic thriller, twisted film noir, wacked-out madhouse melodrama, modern video game, and cheesecake spectacle directed with pulp and fantasy imagery overkill.
Zach Snyder’s 2009 adaptation of the landmark graphic novel by writer Alan Moore and artist Dave Gibbons is as faithful as anyone could hope for.
In Sin City (2005), Robert Rodriguez pulls out all stylistic stops to translate the most graphic of graphic novels—Frank Miller’s Sin City tales, all hard-boiled tributes to pulp fiction and film noir—from two-dimensional pages to free-floating big screen action, and he drafted Miller to help master not just the look, but whole hard-boiled extremism. Men […]