Word: rodriguezes
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...Cardinals who are often tagged with the word charismatic are Honduras' OSCAR RODRIGUEZ MARADIAGA and Austria's CHRISTOPH SCHONBORN. The first is a polymath with a c.v. that includes eight languages, debt-relief work with the rock star Bono, some music playing of his own and what an observer calls an "effervescence." The second possesses a different charm (see box). The cosmopolitan scion of generations of European and Catholic nobility, he has what John Allen, author of Conclave, called a "princely bearing," which has kept him in good stead among world leaders. Never before have musical chops and impressive posture...
Many movies have made violence into art, from the slow-motion bullet ballets of John Woo’s work to the historically poignant impact of Saving Private Ryan. In Sin City, Rodriguez and Miller use a constant stream of savagery to support the movie’s black humor and artful cinematography. Watching the characters “kill their way to the truth” in this film is like pushing Dwight’s car the last half mile of its trip. Cinematic violence can be a high-octane but painfully inefficient fuel, and viewers not thrilled...
Many movies have made violence into art, from the slow-motion bullet ballets of John Woo’s work to the historically poignant impact of Saving Private Ryan. In Sin City, Rodriguez and Miller use a constant stream of savagery to support the movie’s black humor and artful cinematography. Watching the characters “kill their way to the truth” in this film is like pushing Dwight’s car the last half mile of its trip. Cinematic violence can be a high-octane but painfully inefficient fuel, and viewers not thrilled...
...reminded of Pulp Fiction, with its three overlapping stories, its code of honor among thugs, even a grisly-comic car ride with a corpse. Aptly, that scene was "guest-directed" by Quentin Tarantino. It's just one rule that Sin City flouts. The film has no script credit, and Rodriguez resigned from the Directors Guild so Miller could co-direct. But the film follows one rule explicitly: it is the comic book. Same dialogue, points of view, settings, same black-and-white look dabbed with splashes of blood--except the movie moves and makes noise. Lots of noise; beautiful moves...
...cool thing about this digital scare-scape is how fidelity to Miller's vision liberated Rodriguez and the cast. Everyone has a great time playing it hard and fast. For all its astronomical body count, Sin City is brazenly, thrillingly alive. --By Richard Corliss