Rating: 
Summary: A Gritty Stroll Down the Dark End of the Street
Review: In 1986, Frank Miller ushered in a new age in comic writing and illustration with his landmark "Batman: The Dark Night Returns." A couple of years later, he reinvented the form again with his gritty return to Daredevil. To almost no one's surprise, Miller completely retooled the medium with his take on film noir in "Sin City". How radical was this alteration in Miller's artistic vision? In a world of garish, computer-derived colors, Miller constructed a world of broad swaths of black ink. In a medium dominated increasingly by splash pages linked by plots beneath the sophistication level of your average porno movie, Miller delivered a compelling satire of modern urban existence. In an industry increasingly convinced of its own sociological significance, Miller crafts a tale so over-the-top in its violent imagery as to eradicate any claim to stature amongst the Starbucks set. How do you follow up the outstanding statement that was "Sin City"? You don't. "A Dame to Kill For" finds Miller clearly less infatuated with the vision that fairly screamed from his pen in the prior tale. The art, while still visually stunning in places and always crafted with a cinematic flair, seems somehow rushed here, as though the languid love affair he previously had with his imagery has cooled to a Thursday night quickie. The plot involves a sleazy photographer whose past returns to haunt him in horrific fashion. As in the best film noir, nothing is as it initially seems, motives are rarely clear, and the hero takes a terrific beating along the way to both body and sensibility. Unfortunately, Miller's portrayal of the villain here is less nuanced than his past work, detracting from the psychological reality he is apparently trying to convey. This is an eminently forgivable sin in the noir world. Did anyone truly believe that Bogart's Spade really wouldn't pack Mary Astor off to the big house at the end of "The Maltese Falcon"? Did anyone not find the melodramatic finale to "D.O.A." to ultimately ring hollow? Not likely, but neither did this diminish these films' stature as classics of the noir genre; after all, the noir world is in the final analysis a distorted vision of our own painted solely from the duskier hues of the palette. While not a story to die for as was "Sin City", "A Dame to Kill For" is still a story well worth your time.
Rating:
Summary: A Gritty Stroll Down the Dark End of the Street
Review: In 1986, Frank Miller ushered in a new age in comic writing and illustration with his landmark "Batman: The Dark Night Returns." A couple of years later, he reinvented the form again with his gritty return to Daredevil. To almost no one's surprise, Miller completely retooled the medium with his take on film noir in "Sin City". How radical was this alteration in Miller's artistic vision? In a world of garish, computer-derived colors, Miller constructed a world of broad swaths of black ink. In a medium dominated increasingly by splash pages linked by plots beneath the sophistication level of your average porno movie, Miller delivered a compelling satire of modern urban existence. In an industry increasingly convinced of its own sociological significance, Miller crafts a tale so over-the-top in its violent imagery as to eradicate any claim to stature amongst the Starbucks set. How do you follow up the outstanding statement that was "Sin City"? You don't. "A Dame to Kill For" finds Miller clearly less infatuated with the vision that fairly screamed from his pen in the prior tale. The art, while still visually stunning in places and always crafted with a cinematic flair, seems somehow rushed here, as though the languid love affair he previously had with his imagery has cooled to a Thursday night quickie. The plot involves a sleazy photographer whose past returns to haunt him in horrific fashion. As in the best film noir, nothing is as it initially seems, motives are rarely clear, and the hero takes a terrific beating along the way to both body and sensibility. Unfortunately, Miller's portrayal of the villain here is less nuanced than his past work, detracting from the psychological reality he is apparently trying to convey. This is an eminently forgivable sin in the noir world. Did anyone truly believe that Bogart's Spade really wouldn't pack Mary Astor off to the big house at the end of "The Maltese Falcon"? Did anyone not find the melodramatic finale to "D.O.A." to ultimately ring hollow? Not likely, but neither did this diminish these films' stature as classics of the noir genre; after all, the noir world is in the final analysis a distorted vision of our own painted solely from the duskier hues of the palette. While not a story to die for as was "Sin City", "A Dame to Kill For" is still a story well worth your time.
Rating: 
Summary: The second of Frank Miller's tales of the town without pity.
Review: It's one of those hot nights, dry and windless. The kind that makes people
do sweaty, secret things. Dwight's thinking of all they ways he's screwed
up and what he'd give for one clear chance to wipe the slate clean, to dig
his way out of the numb grey hell that is his life. And he'd give anything.
Just to cut loose. Just to feel the fire. One more time. And then Ava
calls.
Rating: 
Summary: "I've Got Too Much To Do To Let Myself Die"
Review: Simpler than other volumes in the series, "A Dame To Kill For" is still a cool, dark slice of comic book noir -- imagine Eisner's "Spirit" onscreen, as directed by the Coens in a more serious mood.
This may be my favorite of the books (though trying to pick a favorite "Sin City" yarn is like trying to select a favorite Beatles album). It encapsulates everything I like about Miller's work: beautiful black-and-white illustrations with an emphasis on venetian blinds; cigarette smoke; shattered glass and dangerous curves; twisty storylines that pop in on one another; hot mamas and serious ultraviolence.
Plus, it contains my favorite moment in the entire series: Dwight, shot and seriously wounded by the murderous harlot he loved, is being raced away from a crime scene by Marv (who has a nice supporting role here). Marv says Dwight won't survive unless they get to the nearest hospital; Dwight, a bloody mess, insists on being taken somewhere further away and delivers the line of dialogue that best sums up the ethos of "Sin City" : "I'll make it. I won't die. I've got too much I have to do to let myself die." Sweet.
Rating:
Summary: Buy it for the Artwork. Absolutely Gorgeous
Review: Sin City is way over the top, unnecessarily violent, dark and unbelievably miraculous, hollywood-type 1 man versus an army fights. The plot borders even on the occult at times and the ending was a quick fix trying to explain the motives of a character. There is no doubt about the quality of Frank Miller's illustration. With black and white (not even gray), he creates powerful images with "negative space" like nothing in comics today.
Rating:
Summary: Good comic book.but not the best in sin city world.
Review: the art of A dame is awesome(like the others sin city books),but the history is... well,is not bad, but for the miller's genius is weak and a kind of cliche.there is no development on the history,and with this, the good narrative and the good dialogs losing impact and direction.this is not a comic that put you inside the history,you read and...you just read! but I think that is just what frank wants,a more simple and with no deep characters development,just a good history with charming and letal women.(the high point of the book),and thinking on it,the man do it.this is a good comic,easy to read and understand,with an INCREDIBLE art work, the art really pays the price of the book!but if you want the best in sin city, buy the first one, family values,or big fat kill. and if you want the definitive frank miller's work, buy dark knight returns,batman year one,ronin and daredevil's born again.
Rating: 
Summary: An amazing book with stunning imagery and a gripping story.
Review: This book continues the legendary tradition of Sin City.
The story sucks you in and the images hold on to you and
don't let go until the last page is finished. The characters have depth and no one is 100% good or bad except for the
anti-heroine. The return of Marve was very well made as he
comes back with the same bad nasty attitude and a love
for trouble.
All in all this book has shown that art can be used to tell as
convincing a story as plain text. I would highly recomend this book to anyone
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