In the midst of more interesting events, Eva Lord asks her ex-boyfriend Dwight McCarthy to help her husband escape, as he mistreats her in various ways. Eva Lord's husband is named Damien Lourdes, who is actually an over-rich man, but Dwight McCarthy soon discovers that Eva is not just leaving her husband as she told him, but her intention is full of evil and hatred. On the other hand, John Harrington meets Nancy Calahan, and here the events are complicated.
There are a handful of ways in which A Dame to Kill For actually improves on the first movie. Alas, none are enough to prevent it from being a substantial disappointment.
With Sin City: A Dame to Kill For... you can't take your eyes off the hyper-stylised fetishism on-screen... but you'll find it difficult to remember anything afterwards. This is instant gratification, a hard drug for the eyes.
A bad movie that overshadows what Miller can still give and which shelters the expectations of those who waited so long to receive so little. [Full review in Spanish]
Reviewers were forbidden from posting a word about this sequel until opening day, lest we give away the shocking secret that it's a carbon copy of its predecessor.
The duration between the first film and its sequel doesn't fully explain the new film's flaws, it's quite instructive when examining the reactions to them.
A Dame To Kill For isn't likely to create converts out of those uninterested in the pulpy side of fiction. But it more than earns its keep in terms of lavishing love, mildly ironic as well as pretty damn earnest, on pumped-up noir.
Orange County Register
August 22, 2014
Miller's original comic-book frames serve narrative functions, but these movies are all grabby graphics, devoid of compelling style.
To call Sin City noir is to misunderstand the genre, as perhaps Miller does. Each story ends pretty simply-in brutal fighting and murder-and lacks genuine intrigue or ambiguity.
