In 1997, "Unruly Night" came out, in the year when the "Titanic" occupied the field of vision, this work became the object of attention, because it announced the birth of a genius, Paul Thomas Anderson appeared in people's field of vision for the first time, and in the following five years, he successively launched "Magnolia" and "Wild Love" two works, won the Best Director Award at the Cannes Film Festival and the Berlin Film Festival, and at the age of 32, he has become a generation of film masters. Pen, fun, and www.biquge.info

In 2003, the "City of God" debuted, and people were amazed that after Paul, another film genius appeared, but compared with Paul, Lance's artistic creation did not seem to be so sufficient, and a "day after tomorrow" interrupted people's expectations, although this commercial film achieved a box office success, but was criticized by professional film critics, believing that this was the beginning of Lance's fall. But then, "Murder by the Sword" and "Sin City" appeared, and it dawned on people that this genius had never sunk, on the contrary, he had always groped his way through the scales of business and art, and he went even further and deeper than Paul.

When the mystery of "Sin City" is revealed, people can't help but marvel that at the age of thirty-two, Lance has already created his own crime trilogy, which puts the indifference and cruelty of real society on the big screen, showing it unreservedly, whipping everyone's inner moral bottom line.

From the professed justice of the U.S. war against Iraq to the sanctimony of Catholic abuses against innocent underage children, the crime trilogy shows the brutal truth behind these facts: no one is innocent, just like Rashomon, and everyone in society is responsible, like a heavy shackle, and no one can stay out of it.

Real and brutal, violent and bloody, delicate and profound. Lance has injected powerful energy into the crime trilogy, like a slap in the head, and the skills are shocking, and the aftertaste is far-reaching.

Roger Ebert, as the most authoritative film critic in the United States, and Kirk Hanicart's "Film Review", as the most authoritative professional magazine in the United States, both justified Lance, not only gave a full score of 100 to "Sin City", but also presented the context of the crime trilogy in front of the public, and really sent Lance to the throne of "master", even if it is not now, it is already a "reserve".

Such a situation is definitely something that no one could have expected before the release of "Sin City". Even Lance himself did not dare to be so arrogant.

Of course, Lance hopes that someone will be able to read the core idea of the crime trilogy, which is not only his painstaking blueprint, but also a breakthrough in his bold attempt to break the shackles and jump out of the aura of rebirth. Because Lance knows deep that he cannot always follow the pace of history - his own existence itself is a countercurrent of the long river of history, and if he does not want to be wiped out by the torrent of history, he must constantly break free from the shackles and seek breakthroughs.

The crime trilogy is an attempt to break through the shackles, and it is also an attempt to position himself as art.

But objectively speaking, "Sin City" is a cult movie, and the stylization of the images is indeed too eye-catching, this is a work of "heads or tails", either like it to the point of fanaticism, or disgust to the point of vomiting, and it is almost impossible to have a median value. So, it's a big adventure with a high-flying tightrope.

Unexpectedly, Roger and Kirk actually stood up and supported "Sin City", and even conducted an in-depth analysis of the connotation of the movie, which is a fantastic result for "Sin City" and for Lance. However, reality is reality, this is not a novel, let alone a movie, the protagonist cannot kill all sides wantonly, nor can he never die, and when the first reviews of "Sin City" came out, Lance's conjecture still became a reality.

Polarization, media commentary appeared the ultimate experience of ice and fire, praise frenzy and criticism rainstorm, the two polarized reviews complemented each other, creating the first media frenzy at the arrival of the summer of 2005, and the "Chicago Sun" and "Film Review"-for-tat media hatred, and the leader of which was the famous "San Francisco Chronicle" on the West Coast.

"Sensationalism! Lancelot inevitably went to the end of his talent. ”

This editorial, written by Brian Barlow, undoubtedly pointed the finger of criticism at Lance, who gave an extremely glaring "zero score" at the beginning, announcing his attitude towards the film in such a shocking manner, and the article was full of firepower, almost criticizing the entire film work for nothing.

Once again, Lancelot did it: he succeeded in making the plot more pale, more incomprehensible, and more self-talking.

Looking back at Lancelot's last four works, it seems that this law continues, one work is more empty, more lackluster, and more boring than the other, and then fills in the blanks with a lot of color and light to cover up the boring and empty plot.

We used to think that 'Killing with a Knife' was already an abyss, from the rich plot of 'City of God' intertwined with multiple lines, to the weak and boring double line of 'The Day After Tomorrow', and then to 'Killing with a Knife' only tells the terrible story of why a killer didn't kill a taxi driver but led to his own death. We thought he had hit rock bottom, but apparently, we were all naïve.

In 'Sin City', Lancelot talks about only one thing: killing. From the killing in the first act to the killing in the fourth act, without any plot to speak of, only a group of people are seen killing inexplicably, and what is even more ridiculous is that everyone seems to agree with this story line, and let the killing continue to spread, and finally evolve into a large-scale killing of everyone.

There are no characters, no story, no ins and outs, no emotional ups and downs, not even specific highs/climaxes, just pure killing. It took Lancelot one hundred and twenty-six minutes to tell a story of killing, telling all viewers that we could choose different ways to kill, but the ending was the same: death.

So, maybe there is something about this movie that tells us not to use violence lightly.

We used to think that such a naïve B-grade movie has been eliminated by the passage of time, brutal, direct, inferior, and strong sensory stimulation, with violence and eroticism/eroticism filling the big screen, trying to arouse the audience's desire/desire, simply feel the pulse of the flesh, and then unscrupulously amplify this stimulation to the limit. History has proven that B-movies can be successful, but they are no longer suitable for the current market, and the simplicity and crudeness of not having any artistic cells have been completely eliminated, and now Lancelot is once again deliberately trying to revive people's love for B-movies.

Lancelot put a lot of effort into color and lighting, doing everything he could to amplify that sensual pleasure to the extreme. There is a scene in the movie that impresses the audience: Jessica Alba stands almost naked, wielding a leather whip, like an S/M queen, and the men in the audience let their beasts/desires take over and lose control. That's the core of the whole Sin City movie, the deliberate use of blood to stimulate people's emotions and the flesh to arouse people's desires/desires, which reminds me of the Southern movie theaters of the thirties.

Perhaps, if Lancelot is interested, Paul Thomas Anderson's work 'Unruly Night' could find him a job. ”

The so-called B-grade film is not the usual film classification, but the registration of the division from the production input, mainly referring to the works with a short shooting cycle and low production budget, so the set is often simple, the props are rough, the finished product lacks texture, and there is no good quality, and it will even plagiarize the current popular plot model.

In the thirties of the last century, there was a distinction between "A-grade films" and "B-grade films" in Hollywood, and the former naturally referred to works with huge investments and well-made. When the "Wind Whisperer" suffered a fiasco, critics ridiculed the work as a "B-grade film made in A-grade", and now B-grade films represent more inferior, rough, and inferior labels, and many critics even refer to /erotic/erotic action movies as B-grade films. This is also the source of Brian's last sentence of sarcasm.

"The only part of the movie that is worth remembering and going down in history is the undisguised and unscrupulous violent scenes, bloody and arrogant cruelty throughout, seeping out from every detail in the picture, challenging the bottom line of American violent movies and the bottom line of the film classification system with a flamboyant and arrogant attitude. Obviously, this isn't just an R-rated movie. It's not just a B-movie either. ”

At the end of the article, Brian once again mocks the shoddy production of Sin City, while also alluding to the fact that the film should be classified as NC-17, not R. From the beginning to the end of the article, Brian was merciless in his criticism, and his trough evaluation of zero epitomizes his disdain for the film.

Brian's views are intertwined with Roger and Kirk, and the two polarized comments are put together, which is puzzling and even gives the illusion: Are they really watching the same film? How is it possible that some people are full of praise and others scoff at it? Even the difference in aesthetic standards is not enough to explain the huge gap between 100 and 0 points.

But that's the case, not only these three media outlets, but also the first comments on Sin City, you can deeply feel that this polarized word-of-mouth war has just begun, and it is only the tip of the iceberg. The extreme commentary on "Sin City" is far beyond imagination, and the scene has been dubbed a "media/high tide" by the Boston Globe – yes, the same outlet that recently rose to prominence for exposing the Catholic scandal. (To be continued.) )