Sin City: A Dame to Kill For (2014)


 
Character: Ava Lord
Director: Robert Rodriguez, Frank Miller
Co-Stars: Josh Brolin, Mickey Rourke, Bruce Willis, Joseph Gordon-Levitt, Juno Temple, Jessica Alba, Rosario Dawson, Powers Boothe, Dennis Haysbert, Ray Liotta, Christopher Meloni, Jeremy Piven, Jaime King, Christopher Lloyd, Lady Gaga, Jamie Chung, Stacy Keach, Julia Garner
Written by: Frank Miller
Based on: Sin City, a graphic novel series by Frank Miller
Genre: Crime Thriller
MPAA Rating: Rated R
 
 
 
 
Summary

Some of Sin City’s most hard-boiled citizens cross paths with a few of its more reviled inhabitants.

 
 
Eva Green’s Role

Eva plays Ava Lord, the quintessential femme fatale who manipulates men with her good looks and innocent façade for her own personal gain or amusement.

 
 
Gallery Links
Posters
Promotional Photos
Promotional Stills
Official B-Roll #001
Blu-Ray Screen Captures
 
Trailers

Official Trailer #001

Official Trailer #002

Official Trailer #003

Official Trailer #004 (UK)

SDCC Red Band Trailer

 
Clips

Clip: Killing an Innocent Man

Clip #001

Clip #002

 
TV Spots

TV Spot: Ava Lord

TV Spot: Avenged

TV Spot: Beauty

TV Spot: Behind Every Crime

TV Spot: Christmas

TV Spot: Friday

TV Spot: Goddess

TV Spot: Hot Night

TV Spot: Outlaw

TV Spot: Outlaws Will Become Heroes

TV Spot: The Fuse Has Been Lit

TV Spot: Trigger

TV Spot: War

 
 
Online Links
Official Website
Official Japanese Website
Official Facebook Page
IMDb Page
 
 
Available on: DVD and Blu-Ray
 
 
Quotes

Eva Green

On her character Ava Lord

“You enjoy the sense of power she has. She’s the ultimate kind of man-eater, a total fantasy who changes her personality and behaviour to transform herself into exactly what men desire and what any given man wants her to be. Ava has the kind of power that a lot of women would like to have over men! (Laughs) She’s a true chameleon and it was interesting to be able to play all the variations of her character – one moment she’s a damsel in distress and the next moment she’s this sensual goddess and then she’s a total bitch. She’s a psychopath with absolutely zero sense of right or wrong and no conscience whatsoever and definitely the most evil woman I’ve ever played or could imagine playing.”

“Ava Lord is a very extreme femme fatale, she’s really very jaded, she manipulates men, she feels empowered and smarter when she does it, she’s incredibly full-on – nothing is sacred. The main thing is to have fun with those kind of characters. She’s so free and corrupt, she’s just bonkers. It really was so fun to play.”

“She is so extreme and irreverent. She’s like a homage to the great characters of film noir. It was just fun to play somebody so evil. She’s so jaded with no sense of morality. I’m so not like that.”

“Sexuality is a big part of her. It’s not gratuitous. It’s done with lots of style and taste. It’s almost like it’s not real.”

“Ava Lord is a very extreme femme fatale, she’s really very jaded, she manipulates men, she feels empowered and smarter when she does it, she’s incredibly full-on – nothing is sacred. The main thing is to have fun with those kind of characters. She’s so free and corrupt, she’s just bonkers. It really was so fun to play.”

“She is T H E femme fatale she is rather dangerous. She kind of puts men under her spell and she drives them mad with desire. They, they are willing to do anything for her. Even kill!”

“[Ava Lord]….is 100% evil. She is a maneater. She is a siren she is a seductress. She is a kind of chameleon. She can re-invent herself all the time. She can be very sweet, damsel in distress and then nasty. I mean, many colors. It’s really fun to play all these different women.”

 

On why she signed up to do the film

“I like having to handle a sword and fight like a man. What girl wouldn’t be happy to be a man for at least one day?”

“I mean, I was worried a bit at the beginning of not being believable as a woman commander. You know, to have the authority to be believable — because you have all of these strong men and have to be believable as a great enemy. I think, actually, the physical training kind of gave me some kind of confidence, weirdly. And of course the costumes and all of this. It’s funny because in drama school I used to like playing Lady Macbeth or Cleopatra, so to be at the head of a ship was kind of — I felt like a little girl. Like, fun and, as you said, to go “all the way.” And she’s such a mad character; she’s bonkers, you know. She’s a man in a woman’s body. She’s so driven by vengeance, that she becomes quite blind.”

“I saw the first 300 film and the first Sin City film but I never really read the comics. I thought 300 was great because it’s so rare to play a warrior woman; being so physical was a challenge for me but it was really fun. Ok, it wasn’t a masterpiece but it was liberating! And then Sin City with Frank Miller was very stylish, an homage to the film noir, it was a fun experience.”

“I took it because I had never been in that kind of film; now I’m training like a man. I was dreading training, thinking it was going to be like the army.”

 

On her preparations and experience of playing Ava Lord

“To be so bad and irreverent is sort of fun, weirdly. Maybe because I’m not like this in real life, to embrace it fully and to be so bad, it’s just fun.”

“Ava plays the damsel in distress but she is also kind of a bitch. The challenge to that was making her believable because she’s lying all the time.”

“It’s fun to play [femme fatale] you know, of course, it’s jubilating. It’s fun to let it all out and be nasty. But, I hope people have enough imagination and cast me in ‘geeky’ roles or other things…”

“Nudity is really part of my character. She uses her body as a weapon to get men. So yeah, I was like, this is for the character, I’m numb, I’m so nervous, here we go, and you forget that you are naked! You completely forget. You do and you don’t really feel sexy you know. It’s weird you know because you wear like this tiny thong, and you’re surrounded by this flashing green screen. Josh Brolin in his flesh colored spanx. We feel like morons actually!”

 

On the controversy surrounding the banned Ava Lord poster

“I’m not actually naked on the poster. I find it a bit odd. It seems like it’s all just publicity – a lot of noise for nothing. You have so many more violent things in the movie business and this is kind of soft. I’m not naked. It’s suggested. I find it really sexy, actually. It’s kind of beautiful. But if it shocks people, I don’t know what to do about it. I don’t want to upset anybody. I don’t want to be seen as just the femme fatale or put into some silly box. I hope that people will have enough imagination.”

“Americans love to nitpick this genre of story without much interest. They have a sense of drama. In the beginning, when journalists questioned me on this subject, I showed myself quite aggressive. Then I realized I had to do with it, and I changed my tone. Much ado about nothing.”

“I don’t understand the fuss. No one in Europe pays much attention to nudity, and even though I’m not particularly desperate to show my boobs, I was willing to do it for this film because it’s shot with such artistry and beauty. I had to almost forget that I was naked so that I would stop worrying or feeling self-conscious when I was standing naked in front of a crew wearing nothing but a thong. You don’t have any other choice.”

“I wouldn’t have done the film if I didn’t think that the nudity was handled in a beautiful and sensual way… I trusted Robert (Rodriguez). He came to my trailer and swore to me that I would look amazing with the right lighting and shadows. You feel quite vulnerable and exposed of course when you are naked on a set. You also feel silly standing naked with the green screen behind you and you’re all alone on a stage. It’s not that sexy at all when you’re doing scenes naked. But you trust Robert and Frank’s vision and it looks stunning. It’s not vulgar, it’s not indecent – it’s art.”

“I think so, I mean the film is very beautiful, it’s very artistic. It’s not vulgar at all, it’s actually very decent so I didn’t really understand what all the fuss was about but at least it’s publicity, people will hear about it I guess.”

“I thought it was a joke when I heard. John Logan sent me an email when I was in Hungary and asked, ‘What’s up with this?’ I’m not sure why people objected. You sort of guess the outline of the boob. I am holding a gun, though, and no one questions that. It’s all about nothing really.”

“I don’t really understand it. If people have a problem with the poster then they’ll probably have a problem with the film. You see nothing on the poster really. It’s like ‘Why?’ I thought it was bad publicity or something. I don’t know what the problem is.”

“I don’t really know to say. I mean I don’t really understand. It’s, it’s, I mean it’s done with taste. It’s not, you know, vulgar. I don’t know it feels like, you know, its free publicity. I just don’t think that people would really be offended by the poster. You don’t see anything!”

“I mean, the poster, you don’t see anything. Just wait for the movie then. It’s in 3D. Enjoy yourself! [Laughs] It was nothing on the poster. It was lots of noise over nothing. And you know they should censor the violence in the film but not nudity? And also I’m holding a gun on the poster. No big deal about the gun? It’s all about my t**ts? And what the f*** you don’t see anything really….”

“That’s the thing you know. I mean boobs never killed anyone! Well, I mean you could suffocate somebody…”

 

On acting with a green screen

“It’s very close to being on stage. When you do theatre, the furniture and background is usually very minimal you don’t pay any attention to the props. All your energy is focused on the other actor or actors you’re playing your scene with. That’s how it was making this film. There’s just the crew around you and you have to imagine the setting that’s eventually going to be filled in later. I had read the graphic novels before starting work on the film and so I had a good understanding of the surroundings. You also get used to miming opening a door or looking in certain directions where something is supposed to be happening or knowing where the walls are supposed to be. It takes a bit of discipline but it also intensifies your work because your entire concentration is on the other actor.”

“At first you’re very overwhelmed but then you really get used to it. You know that Robert and Frank are going to do amazing things post filming. To have real actors to act with is always the main thing when making a movie so that was fun and the atmosphere on set was really gentle, laid back and just incredibly fun.”

“I mean, I didn’t do this movie because it was green screen. It was a really cool project. The script was great. And yes, it was green screen–ike greener than ever: no furniture, no nothing. There was nothing there. Sometimes you have props, but it’s quite a weird world. The first day you’re like, ‘Oh my God.’ I was lucky because I had real actors to interact with. I know some of the other actors did not have that chance.”

“You don’t know how it’s going to turn out. So the other actor is saving you. It’s like theater. I haven’t done theater in 10 years.”

 

On working with the cast of Sin City: A Dame To Kill For

“I was very excited to be asked to do the film. I was cast at the last moment, about a week before shooting started, but I was so happy to be part of it. I was also very happy to get to work with Josh Brolin whom I’ve admired for many years. He brings so much intensity and emotion to his facial expressions and he has these sharp features that are perfect for the extreme character he plays.”

 

On working with the female cast of Sin City: A Dame To Kill For

“Well actually we didn’t meet. They were all finished when I arrived and I arrived last on board. But I met them separately for publicity and they’re lovely girls and they’re really not competitive at all. I just wish I had had some scenes with them. I only had scenes with men, all men [laughs].”

 

Robert Rodriguez

On casting Eva as Ava Lord

“She pulls it off to where you go, ‘She’s a dame to kill for.”

 

Frank Miller

On his favorite scene in the movie

“After I saw that scene, and I saw how they played it and how they moved across decades in the performance, I took them both aside to tell them that this was my favorite scene. It was the one that I was most worried about, and they pulled it off perfectly!”

 
 
Eva’s character Ava Lord
“What does it feel like? Murdering an innocent man. Just wanna know what it felt like. Must have been beautiful. I knew I could count on you. Sex always made you stupid, ready to believe anything. You’ve made me a very rich woman. Do me one last favor, lover? Stay still long enough for me to blow your brains out.”

“I own Sin City.”

“When you’re immune to me, I’ll let you know…”

“No, Dwight. A crazy person would be anyone who believes me. And that would be you.”
 
 
Production Trivia & Facts
Has a run time of 1 hour and 42 minutes.

This movie was filmed in Robert Rodriguez’s very own Troublemaker Studios in Austin, Texas, USA.

Two of the film’s four segments – “Just Another Saturday Night” and “A Dame to Kill For” – take place before the first Sin City (2005) film.

In the film, Eva and Marton Csokas play a married couple. They previously played a married couple in Kingdom of Heaven (2005).

The MPAA banned the Ava Lord character poster. The poster showed Eva as Ava Lord wearing a sheer gown through which her nipple was slightly visible.

Eva was cast a week before shooting started.

Directors Frank Miller and Robert Rodriguez made a cameo in the film. They are the two bums in the show that Nancy is watching.

Eva’s appearances in 300: Rise Of An Empire (2014) and Sin City: A Dame To Kill For (2014) makes her the only actor to have starred in two adaptations of Frank Miller graphic novels within the same year.

Eva and Juno Temple co-starred twice: Cracks (2009) and Sin City A Dame To Kill For (2014). They did not share any scenes in Sin City: A Dame To Kill For.

Eva and Christopher Meloni co-starred twice: White Bird in a Blizzard (2014) and Sin City A Dame To Kill For (2014). They played a married couple in White Bird in a Blizzard (2014).

According to Eva, she asked Robert Rodriguez to erase her cellulites during post-production.

To prepare for the role of Ava Lord, Eva watched a lot of film noir. Double Indemnity featuring Barbara Stanwyck and films by Bette Davis are some of the films that she watched.

Robert Rodriguez has stated that Eva is the only actress that he and Frank Miller could agree on to play Ava Lord.

Aside from starring in (through a cameo) and the directing the film, Robert Rodriguez also did all the editing, lighting, music composition, and he shot at his own studios, Troublemaker Studios.

The leading role was originally offered to Johnny Depp but he had to decline due to scheduling conflicts.

The film’s budget was $60 million, making this the most expensive movie Robert Rodriguez has ever directed.

Although she played a supporting role in the “A Dame to Kill For” comic book, Frank Miller and Robert Rodriguez retired the character of Shellie from the film version instead of recasting her out of respect to the late Brittany Murphy of Sin City (2005).

The very last word of the movie marks the first time in either the books or the films that a character uses the F-word.
 
 
Awards & Nominations

BloodGuts UK Horror Awards (2014)

Nominated (BloodGuts UK Horror Award)

Best Supporting Actor/Actress – Mickey Rourke

Best Editing – Robert Rodriguez

Best Soundtrack/Score – Robert Rodriguez

Jupiter Award (2015)

Nominated (Jupiter Award)

Best International Actress – Eva Green

 
 
Critics on Eva Green’s performance

William Thomas, Empire Online

“Eva Green makes for a viper of a character in Ava Lord, able to switch her behaviour according to the poor sap she’s trying to lure, and the actress is clearly relishing the chance to play such a conniving con artist who wraps men around her little finger and disposes of them when they’re no longer useful.”

Sheila O’Malley, RogerEbert.com

“And finally, Eva Green enters the scene as Ava Lord, the “dame to kill for” in the title. She is reminiscent of every black widow woman from every film noir ever made: Lana Turner wrapping John Garfield around her little finger in “The Postman Always Rings Twice” or Barbara Stanwyck playing Fred MacMurray like a violin in “Double Indemnity.” One kiss with Ava Lord and, forget it, you’re willing to do anything. There is one scene where Ava, totally nude, dives into her pool, and Rodriguez shows it to us doubled, two white nude bodies diving towards each other through the black, the water splashing out at us whitely in 3-D. It’s a kaleidoscope moment, a Busby Berkeley nod, a perfect evocation of the dizzying effect this sociopath has on the men unfortunate enough to cross her path. Dwight (Josh Brolin, taking up the role played by Clive Owen in the first film) has a past with Ava, knows she is bad news, and yet there she stands at the doorway, in her bright blue silk coat, ravishing against the black-and-white scenery, and what is a man supposed to do? Eva Green plays Ava with a great and controlled relish, bringing on the crocodile tears or her sexuality or her helplessness when she needs them, her green eyes gleaming cunningly out of her black-and-white face.”

James Berardinelli, Reel Views

“Then there’s Eva Green, who is easily A Dame to Kill For’s most obvious asset. Appearing in her second Frank Miller adaptation of the year (after offering the most memorable scenes in the 300 sequel), Green cements her scene-stealing credentials with a perfect femme fatale impersonation. Whether clothed or naked, she rivets the camera’s attention. Green shares the villain’s duties with Powers Boothe, who knows a thing or two about how to get viewers to hate his character.”

Todd McCarthy, The Hollywood Reporter

“Of greater interest in any event is anything and everything involving Ava (Green), a spider woman so fatally gorgeous and seductive that no man can resist her. This certainly applies to Dwight (Josh Brolin), whose torrid affair with her ended four years earlier. He’s sober now and he tells himself he won’t weaken, yet he cannot refuse her request when she summons him to Kadie’s. Pulp and noir were often built on the beautiful shoulders of such characters as Ava, and the main justification for seeing the film is to watch Eva Green claim membership in the pantheon of film noir leading ladies alongside Jane Greer, Gloria Grahame, Marie Windsor, Peggy Cummings, Lizabeth Scott and a few others. Frequently baring all in a way that was not allowed in the ’40s and ’50s and often lit by Rodriguez (who did triple duty as director, DP and editor here) in a high-contrast style accentuated by slatted light through blinds, Green more than earns femme fatale immortality by first reiginiting Dwight’s fire, then going through a succession of other admirers, including her loaded husband (Marton Csokas) and a married cop (Christopher Meloni) before receiving her well-deserved comeuppance…..As an exercise in style, it’s diverting enough, but these mean streets are so well traveled that it takes someone like Eva Green to make the detour through them worth the trip.”

Claudia Puig, USA TODAY

“Sin City newcomer Eva Green is the film’s strongest asset. She plays Ava, the diabolical and seductive title character. Often in various states of undress, bright-emerald eyes blazing, Green is the only one who wholeheartedly seizes upon the humor in the material. She seems to be enjoying the farcical role more than her co-star in noir glamor, Nancy (Alba), a haunted exotic dancer relegated to repetitive gyrations punctuated by hearty swigs of booze.”

Betsy Sharkey, LA Times

“Green makes the most of it, stealing all the thunder, not easy to do especially from Brolin’s dark and demon-driven dude.”

Richard Corliss, TIME

“The actress brings sex and violence in one killer package to this second installment of Frank Miller’s neo-noir….As for the sex: that’s Ava. She is the prime force of evil, and Green is the new movie’s reason for being. In a film era that mostly ignores womanly allure for guy-on-guy battles and bromance, Green has played the unregenerate temptress from The Dreamers (her debut) to 300: Rise of an Empire, with the miniseries Camelot and Penny Dreadful in between. But Ava was the role waiting for her. Her huge emerald eyes glare above a blue silk gown in the monochrome murk; her body is often shown nude, in a swimming pool or on a bed, in the Cubist caress of Venetian-blind slats. Ava’s siren call summons Dwight there, imploring him to take his revenge on her body: ‘Make me hurt like I hurt you.”

Jason Shawhan, Nashville Scene

“A Dame to Kill For is a must-see because of the transcendent performance of Eva Green. Much as she did with 300: Rise of the Empire earlier this year, she steps into a digital backlot and commits wholeheartedly to whatever the film requires. She’s got a gift for elevating material that has in 2014 alone made two sequels that nobody asked for into essential summer flicks, and it’s all due to force of will and a lack of inhibitions.”

Robbie Collin, The Telegraph

“If Sin City 2 has, for the most part, mustered a better cast than it deserves, at least they haul the material up to their level. The film’s greatest assets are Gordon-Levitt and Green, who remains as coolly aloof as a circling eagle, despite spending much of the film naked in a variety of provocative poses.”

F.S. for Economist

“Ms. Green, thrillingly cruel, detached and dangerous, offers atonement. She seduces the audience as she seduces her men, with blinding confidence, and keeps the film from sliding towards blandness. The plot and the script might not always be to kill for, but the dame sure is.”

Jason Clark, Entertainment Weekly

“The filmmakers wisely hired the fearless, magnetic Eva Green to play—what else?—the delectably twisted femme fatale Ava, who offers up most of the aforementioned copious nudity. Reminiscent of Linda Fiorentino’s classic turn in the seedy suspenser The Last Seduction, and far more resourceful than the movie she’s in, Green’s Ava more than lives up to this picture’s subtitle.”

Joshua Rothkopf, Time Out

“Amazingly, one performer does emerge from the sludge of Sin City: A Dame to Kill For with an emerald-eyed fury, and that’s Eva Green, fully committing to the title role’s silky monstrosity. Her frequent, brazen nudity—swimming pools and bathtubs are a big part of her day, apparently—is going to short-circuit some viewers (not just the overgrown boys, but anyone expecting a femme fatale with a hint of shame). Yet Green is the only one able to excite this silly material into the spiky shape it’s supposed to take. You wish the rest of the cast was as clued in.”

Alonso Duralde, The Wrap

“Green is the only female performer who sees through this movie’s ludicrousness and dares to one-up it. Her nudity feels defiant — she and even Brolin show a lot more skin than any of the strippers — and she turns Ava’s rapaciousness into one of the few tangible objects in this movie made up principally of special effects.”

Tim Grierson, Screendaily

“The showiest role belongs to Green as Ava, a knowing riff on the standard femme fatale that’s all scene-chewing bitchiness. Green has a ball playing the dangerous sexpot who gets her hooks into Dwight…”

Jeannette Catsoulis, New York Times

“But the best antidote to all the glowering and posing is Eva Green: As Ava, the titular dame, she’s nothing short of a godsend.“I’m a selfish slut who threw away the only man she ever loved,” Ava purrs to whoever is next on her seduction to-do list, proving it by shucking her clothes as often as possible. Ava’s nakedness is her weapon, and Ms. Green, playing entire scenes in the buff (she’s one of the few actors who understands the complicated grammar of body language) somehow makes us feel as though we’re the ones being exploited. Her skills have persuaded the filmmakers to tone down the violence and pump up the sex. “You can’t make a sale without showing the goods,” one of Ava’s admirers says. Indeed you cannot.”

Isaac Feldberg, We Got This Covered

“It’s almost a problem that Green plays Ava so perfectly – you may find yourself hoping she slithers her way out of her admittedly well-deserved comeuppance.”

Travis Hopson, Examiner

“No other actress so perfectly embodies the classic femme fatale as Green, who plays Ava Lord in a twisted tale that explains how street hero Dwight (now played by Josh Brolin) came to need that new face he had in the first film. …… No other actress so perfectly embodies the classic femme fatale as Green, who plays Ava Lord in a twisted tale that explains how street hero Dwight (now played by Josh Brolin) came to need that new face he had in the first film.”

Christopher Orr, The Atlantic

“Eva Green by contrast…All calculated sensuality and dangerous curves, Green owns this installment of Sin City as surely as Rourke did the last one, replacing his self-consciously retrograde masculinity with a femme fatality so knowing and over-the-top that it flirts with satire. Her emerald eyes, ruby lips, and sapphire dress (on those occasions when she is, in fact, clothed) may pierce the monochromatic screen, but it is her canny mashup of cinematic seductresses from Jane Greer to Sharon Stone that offers the movie’s principal compensations.”

Amy Nicholson, The Village Voice

“But A Dame to Kill For’s best special effect is Eva Green. When her femme fatale — homophonically named Ava — bursts into a bar to plead that ex-boyfriend Brolin take her away from her rich husband (Marton Csokas) and omnipresent bodyguard (Dennis Haysbert), her ripeness reduces him to two words: “Ava. Damn.” Green is sexy, funny, dangerous, and wild — everything the film needed to be — and whenever she’s not on-screen, we feel her absence as though the sun has blinked off. She strips off more than Alba, yet she’s never just eye candy — she’s a full meal. In a movie that treats women like chew toys, Green is powerful, even when she plays weak. When she coos, “I guess I’m not a very strong person,” to her latest rescuer, not only is she wielding femininity like a trap, but she also feels as if she’s sending up the rest of the film.”

James White, Empire Online

“Eva Green makes for a viper of a character in Ava Lord, able to switch her behaviour according to the poor sap she’s trying to lure, and the actress is clearly relishing the chance to play such a conniving con artist who wraps men around her little finger and disposes of them when they’re no longer useful.”

Ali Gray, The Shiznit

“Much as she did with 300: Rise Of An Empire, however, Eva Green holds up the mid-section with great gusto. Pouting with just the right amount of vamp and camp, Green’s titular dame pushes this Sin City firmly into farce where it belongs. As a seductress extraordinaire, Green is having fun, which is more than can be said for the sour-faced fellows in her thrall. Watching her play the victim and thrust her head into the lap of the cop that comforts her is a pleasure only matched by the sight of her waiting by the phone for his call later that night (“About time,” she purrs). The fact she is nude while doing this is absolutely integral to the story, you understand; the film dips a whole star every time she’s off screen.”

Roth Cornet, IGN

“Green is breathtakingly villainous and captivating as the soulless woman driven by a greed that can never be satiated. In a cast of heavy-hitters who each dig into the task at hand with relish, Rourke and Green manage to breathe fire into and elevate otherwise straightforward characters and stories.”

Ben Kendrick, Screenrant

“As in 300: Rise of an Empire, Green is a scene-stealer and she injects enigmatic allure into her damsel in distress role – a femme fatale that is made all the more captivating by the film’s subtle use of situational red, green, and blue coloration.”

Radheyan Simonpillai, NOW Toronto

“The title story is the most thrilling, if only for Eva Green’s sensational performance. She has affected shades of noir in previous roles, but as the scheming Ava Lord, Green is a terrific femme fatale, luxuriating in Miller’s Chandler-esque dialogue while devouring the scenery and every inhabitant in it.”

Justin Chang, Variety

“But the main attraction here is Green, who, in addition to serving as the film’s most eye-popping design element, invests Ava with a wild-eyed intensity worthy of Medea, adding another to the actress’ gallery of murderous screen sirens following her performances in ‘300: Rise of an Empire’ and ‘Dark Shadows.”