THE NOVEMBER MAN is a hard R spy thriller starring Pierce Brosnan as a retired CIA agent who goes up against his former bosses when one of them orders a hit on the woman who happens to be the mother of his 12-year-old daughter. Although you root for the retired agent’s success against his former bosses and against an evil Russian politician, he undermines his moral standing when he threatens the life of an innocent bystander about halfway through the movie. NOVEMBER MAN also contains excessive crude language and two explicit sex scenes, including a brief rape scene where the camera lingers a bit too long on what’s happening.
The movie’s lewd content and its depiction of rank corruption within the CIA is abhorrent and Anti-American. Depicting corruption in the CIA or the American government isn’t necessarily a bad thing, but the CIA in this movie is depicted like some kind of Nazi or communist organization where following orders no matter what is a basic rule. Ironically, one of the story’s major character conflicts is between the hero and his former trainee, who fails to follow the hero’s orders in an opening sequence. The trainee’s failure results in the hero holding a grudge against him through most of the movie. These plot points seem inconsistent, to say the least. If the bad guys are evil guys who demand that their underlings follow orders for the good of some higher purpose, no matter what, then the hero has the same major flaw. It’s hard, if not impossible, to sympathize with such a “hero.”
In the story, based on one of 13 novels in a spy series, Pierce Brosnan is Peter Devereaux, a former CIA agent living in Switzerland. The movie opens on Peter’s last mission in 2008 before retiring, where he was still training a CIA spy named David Mason. For some reason not clear in the movie, Peter gets really upset when David shoots and kills an assassin at the wrong time.
Five years later, Peter’s old boss, a man named Hanley, asks him to help bring out an undercover agent named Natalia. Natalia is working undercover with an evil Russian politician named Federov, who just may be the next president. Federov has a shady past in the second war against the Muslim Jihadists who were slaughtering people in the Russian province of Chechnya (circa 1999 to 2001).
In Belgrade (now in Serbia, which used to be called Yugoslavia) during a conference, Natalia leaves with the identity of a young Chechen refugee Federov raped and forced to become involved in the sex trade. The refugee knows some other secrets regarding Federov’s military career in Chechnya, secrets that could ruin him.
During Natalia’s escape, Federov gets wind of her betrayal and orders Russian spies to kill her immediately. As they close in while Peter spirits Natalia away, the boss of Peter’s former boss orders a CIA assassin to shoot her dead. The assassin is Peter’s old protégé. The problem is, Peter at one time loved Natalia, who also just happens to be the mother of his 12-year-old daughter.
Peter decides to explore the reasons behind Natalia’s death, including locating the Chechen refugee and finding out what she knows. This leads him to a young female social worker in Belgrade who helps female refugees, especially those who became trapped in the sex trade. It also pits him against the CIA, his former protégé and Federov, the evil Russian politician.
Though well made to a certain extent, THE NOVEMBER MAN makes a major storytelling mistake when it has its hero threaten the life of an innocent bystander, a young woman who has a one-night stand with the hero’s former trainee. MOVIEGUIDE® stopped rooting for this character during this scene and found it hard to get back on track with the story’s flow from that point, even during the end when the villain kidnaps the hero’s daughter to force him to surrender the young woman he’s trying to protect. This, and the movie’s gratuitous lewd content, which also interrupt the narrative flow, prevent NOVEMBER MAN from becoming a four-star movie. Coupled with the excessively negative portrayal of America’s major spy apparatus, this renders this particular spy thriller abhorrent. Even the violence gets excessive and distasteful, with a few too many graphic gunshots to the head, complete with blood spraying. To a certain extent, all movies with lots of action violence are meant to titillate the audience, but NOVEMBER MAN always seems to go too far. MOVIEGUIDE® has to wonder if the filmmakers purposely went out of their way to offend. Whatever the case, their movie not only offends, it also seems to leave some unanswered questions and some confusion behind it.
Today’s filmmakers and storytellers need to remember the words of the mystery writer Raymond Chandler, one of the inventors and most talented practitioners of what used to be called “hardboiled” fiction, which became the foundation for what is called “film noir,” the atmospheric genre created by Hollywood in the 1940s. Chandler said all true art contains a “quality of redemption.” Also, although he specialized in writing about private detectives as the hero, his words can apply to all heroes. The hero doesn’t have to be perfect, Chandler said (in fact, he preferred it if the hero had at least a couple flaws, or a bit of an edge, because that’s the reality of the human condition and the “mean streets” that every modern city has). Thus, the hero should be a man (or a woman) “who is not himself mean, and neither tarnished nor afraid. . . . a man of honor – by instinct, by inevitability, without thought of it, and certainly without saying it. He must be the best man in his world and a good enough man for any world. . . . [and] if he is a man of honor in one thing, he is that in all things.” MOVIEGUIDE® could add a lot more to what Chandler says here in his little article on murder mysteries and heroes (hardboiled or not hardboiled), “The Simple Art of Murder,” but suffice it to say that THE NOVEMBER MAN not only fails the Chandler test, it also fails the MOVIEGUIDE® test.
Terminally Ill and Eternally Full of Life
ALS Stricken GOD’S NOT DEAD Producer Has a Message for the World
By Ben Kayser, Managing Editor
On August 19, as thousands of videos poured over the internet of people participating in the ALS Ice Bucket challenge, creating awareness for ALS, also known as Lou Gehrig’s disease, one video especially inspired many.
Russell Wolfe is a producer for the recent hit GOD’S NOT DEAD and many other Christian movies. Recently diagnosed with ALS, Russell took to Facebook to contribute to spreading awareness and raising money for scientific research of the incurable disease.
Regarding the Ice Bucket Challenge, Russell told Movieguide®, “So few people even know of the disease or even know what it is. I think it’s done a great job at raising awareness for that, but I felt that it was particularly good to link it to the fact that God’s not dead, mainly because I have faith that I’m healed, and I’ll receive that manifestation of that healing. Maybe there are some people I can encourage along the way.”
Encourage people he did. Within a week, his Ice Bucket Challenge had been shared over 34,000 times and over 3,000 comments flooded in with encouragement, prayers and others with ALS stories.
Moved by the huge response to the video, Russell said, “One thing that speaks specifically to me is the outpouring of people and their prayers. I’m so grateful for that. I’m actually taken back by how much it was shared, and how many people have included me in their prayers.”
When the news of his terminal diagnosis was revealed to him, Russell said his doctor was more surprised than he was because of Russell’s demeanor.
“I was so calm in reaction to the news,” Russell explained. “I’ve been through a lot of storms in my life, and God has certainly delivered me from each one. When I’ve had things that have happened that are bad, at the time, they might have seemed disastrous, but God has turned each and every one of them around so that in retrospect, I can look back at those, and I’m thankful that they happened, and I don’t feel any different about this. So when he gave me the news, I just looked at it as an opportunity to stand in my faith, and now we’ll just see God uses this for his Glory.”
Romans 8:28 is a special encouragement to Russell, because God’s work and plan for his life is already so apparent.
“A part of the movie [GOD’S NOT DEAD] is sort of ironic, not only that I play the doctor that was delivering terminal news, and then I received that [same news] thereafter, but the letter that was in the movie that Kevin Sorbo read.
When we had the script, I felt that there needed to be a bridge between him being a solid atheist, and then converting to a Christian on the screen. So, I felt that while he was sitting in his office, he could pull out a letter from his mother. So, I wrote that letter. The idea behind that was, what would I tell my kids if I knew I was going to die at a young age? That letter that’s in the movie, I wrote it in that perspective. Again, the irony of writing that letter, and then getting a terminal diagnosis expresses the way I felt at that time and feel now knowing that I have this diagnosis.”
With his health deteriorating, Russell is still full of encouragement, faith and hope.
As he says, his message “is that God didn’t give this [ALS] to us. God didn’t give me ALS. I believe we live in a fallen world, and as such, bad things happen to good people. . . . What I do believe is that God can take any of those bad things and turn them into good. My message is to keep your faith. God is good all the time. He will turn things that are bad to the good. So, look for the hope in that.”
Pray for Russell Wolfe, his family and the thousands of others that suffer from ALS. Pray for physical healing through miracles and scientific advances through medicine, but especially, pray for a spiritual healing for all those who don’t have a personal relationship with Jesus Christ.
Who Goes to the Movies?
Source: MPAA U.S./Canada Theatrical Market Statistics, Attendance Demographics for 2013, March 2014.
All of these figures apply to Americans and Canadians seeing movies in theaters in 2013, the last year for which statistics are available. The Motion Picture Association of America (MPAA) will publish a new study of movie attendance in March 2015.
According to the MPAA, the population of the United States and Canada age two and over totaled 334.6 million people in 2013.
All Moviegoers by Age Group, 2013
|AGE||PERCENTAGE OF MOVIEGOERS||PERCENTAGE OF POPULATION|
Most Frequent Moviegoers by Age Group, 2013
|AGE||PERCENTAGEOF MOVIEGOERS||PERCENTAGEOF POPULATION|
Of the 228.7 million who went to movies at least once in 2013, more than 34.3 million were age 2-11 and 25.157 million were age 12-17, while 29.731 were age 18-24 and 52.6 million were age 25-39.
Thus, about 59.46 million children and teenagers in the USA and Canada went to the movies at least once.
Children age 2-11 are going to movies more, while the rate of moviegoing for teenagers remained steady. That said, the amount of moviegoing is higher among people age 12 to 39, with people age 25 to 39 going more often than anyone.
Of course, some of the people age 18-24 and many of the people age 25-39 have children or teenagers, and went to the movies with them.
Thus, the age groups that also include parents and their children, 2-39, make up 62% of all moviegoers, or 141.79 million people, but only 52% of the U.S./Canadian population, according to the MPAA. Also, moviegoers age 18-39 make up the bulk of frequent moviegoers, 43% percent, compared to 35% for frequent moviegoers aged 12-24 and 27% for frequent moviegoers aged 2-17, according to the chart titled “Most Frequent Moviegoers by Age Group.” However, youths aged 12-17 make up 15% of that 27%.
Finally, the MPAA estimates about 36.8 million people in the United States and Canada are frequent moviegoers (once a month or more).
Here, it is very interesting to note that, instead of peaking between the ages of 18-24, as was typical, frequent moviegoing was still peaking at ages 25-39 in 2013, when 8.46 million frequent moviegoers were aged 25-39 but only 7.36 million frequent moviegoers were aged 18-24, 5.52 million aged 12-17, and about 4.42 million aged 2-11.
Admissions by Rate of Moviegoing, 2013
|Frequent (12+ a yr.)||50%|
|Occasional (2-11 a yr.)||48%|
|Infrequent (1 or less)||2%|
Admissions by Rate of Moviegoing, 2012
|Frequent (12+ a yr.)||57%|
|Occasional (2-11 a yr.)||41%|
|Infrequent (1 or less)||2%|
Admissions by Rate of Moviegoing, 2011
|Frequent (12+ a yr.)||50%|
|Occasional (2-11 a yr.)||48%|
|Infrequent (1 or less)||2%|
Those who habitually see movies in the U.S. and Canada accounted for 50% of total tickets sold in 2013. Comparing this to the percentages for 2012 and 2011 above, it seems that the increase in frequent moviegoing in 2012 was just a statistical anomaly.
Frequency of Moviegoing, 2013
|FREQUENCY||PERCENT OF POPULATION|
|Frequent (12+ a yr.)||11%|
|Occasional (2-11 a yr.)||47%|
|Infrequent (1 a yr. or so)||10%|
About 32% percent of Americans and Canadians never went to see a movie in theaters in 2013, compared to 32% in 2012, 33% in 2011, 32% in 2010, and 26% in 2006. Of those who do see movies, only 11% go 12 or more times each year, 47% see up to 11 movies and 10% people go infrequently, about one movie each year.
Tickets Sold Among the Sexes, 2013
According to the MPAA, females purchased much fewer movie tickets in 2013, 2012, 2011, and 2010 in the U.S. and Canada compared to 2009, going from 55% of movie tickets sold to 50% of tickets sold. Males purchased more tickets in 2013, 2012, 2011, and 2010 compared to 2009, from 45% of the tickets sold to about 50%.
Tickets Sold by Ethnicity, 2013
|RACE||TICKETS SOLD||PERCENT OF POPULATION|
Tickets Sold by Ethnicity, 2012
|RACE||TICKETS SOLD||PERCENT OF POPULATION|
Tickets Sold by Ethnicity, 2011
|RACE||TICKETS SOLD||PERCENT OF POPULATION|
Hispanics bought a higher percentage of tickets in 2013 and 2012, (25 and 26%, respectively), up from 22% in 2011. They still have the highest moviegoing per capita compared to whites and blacks, 6.0 per capita compared to 4.2 per capita for blacks and 3.4 per capita for whites.
Ticket sales among whites in the U.S. and Canada show a steady decline, decreasing to 724 million tickets in 2013, compared to 760 million tickets in 2012, 750 million tickets in 2010 and 742 million in 2011. They bought about 909 million tickets in 2007 and 845 million in 2009, according to MPAA reports.
Meanwhile, internationally, box office for all movies outside the U.S. and Canada seems to be slowing, growing from $23.9 billion in 2012 to about $25 billion in 2013. It increased overall about 4.6% in 2013, compared to a 6.7% increase in 2012, a 6.7% increase in 2011 and an 11.7% increase in 2010.
Also, an increase in box office occurred among moviegoers in Latin America, going from $2.8 billion to $3.00 billion, more than 7.1%. Asia Pacific became the top region in international box office in 2013, growing 6.7% increase, from $10.4 billion to $11.1 billion! Meanwhile, Europe, Africa and the Middle East grew from $10.7 billion to $10.9 billion.
Finally, China became the first international market to exceed $3 billion in box office revenue, earning $3.6 billion.
What’s Next After GOD’S NOT DEAD?
If you received a text message this past spring which consisted of the simple, yet powerful words, “God’s not dead,” it’s probably because the sender was one of the millions of people who watched and was touched by the movie whose message and title proclaimed that life-changing truth.
GOD’S NOT DEAD earned $62 million in revenue worldwide, startling Hollywood and further proving once again that faith-based movies – even those produced outside of the Hollywood Entertainment Industry – strike a resounding chord with audiences.
PureFlix, the company that made GOD’S NOT DEAD, recently announced its follow-up project, DO YOU BELIEVE?, which begins shooting next month.
Mark Borde, co-president of Freestyle Releasing, the company that released the movie on behalf of the producers, isn’t at all surprised by GOD’S NOT DEAD’s success.
“While this huge opening may be a surprise to the industry, it is not so much to us,” he told the Wrap. “The in-house tracking, the legitimate one million Facebook fans, the very high trending on Twitter and Fandango among many other platforms, and the huge positive reaction from the hundreds of screenings over the many past months, gave us hope for a significant opening.”
Today, the GOD’S NOT DEAD Facebook fan page has more than four million “likes” while the movie’s Twitter account, @GodsNotDeadFilm, boasts over 28 thousand followers. At the time of this writing, the Facebook page posted just three hours ago about the movie’s DVD release, and one of the 11,798 “likers” commented with this marvelous piece of praise:
“I just finished watching it, and I ended up re-dedicating my life to the Lord! This movie is powerful.”
Clearly, the social media activity surrounding the movie and its intrinsic evangelistic mission helps to solidify the notion that people are hungry for and excited about the hope-restoring, faith-building, God-honoring themes movies like GOD’S NOT DEAD portray. Five months after the movie’s theatrical release, its momentum shows no sign of decreasing; eager fans around the world are wondering, “What’s next?”
One of the movie stars and co-producers, David A.R. White, told TheBlaze recently that the movie’s production company, Pure Flix, is preparing to produce its next project, DO YOU BELIEVE?, which will have a completely different cast and crew from GOD’S NOT DEAD.
White said the movie “deals with the power of the cross and the relevancy of the cross in today’s society. ‘GOD’S NOT DEAD’ really dealt with, ‘Is there a God?’ The next step – as Christians – we believe [God] is Jesus Christ.”
Regarding a GOD’S NOT DEAD sequel, White disclosed that Pure Flix is considering the possibility in response to fans’ positive feedback and curiosity concerning what happens next to the characters.
DO YOU BELIEVE? begins filming in September and is slated for a spring 2015 release.
MOVIEGUIDE® has been supporting the production of faith-based like GOD’S NOT DEAD and faith-friendly movies like FROZEN since 1985 when it opened its doors. Its Annual Report to the Entertainment Industry, released each February, shows Hollywood that such movies are the most popular and the most financially successful on average.
- Sources: The Blaze, 08/20/14, and The Wrap, 03/22/14.
Editor’s Note: Diana Anderson-Tyler is the author of “Creation House’s Fit for Faith: A Christian Woman’s Guide to Total Fitness and Perfect Fit: Weekly Wisdom and Workouts for Women of Faith and Fitness.” Her popular website can be found at dianaandersontyler.com, and she is the owner and a coach at CrossFit 925. Diana also can be reached on Twitter.
CREED OF GOLD starts out in Russia with a man who is a reporter finding out there are three trains full of gold coming to Russia to instigate the Bolshevik revolution. After a long chase, he’s killed. Years later, the man’s son is killed for possessing the list of names of the people who financed the Russian revolution. His wife sent their son to America to escape the conspirators trying to get the evidence.
In America, the son goes to a prestigious university and takes the name Adam Smith. In his course on the Federal Reserve, he sits next to Kristin Stanford, whose father is on the Federal Reserve. They pair up to do a term paper on the Federal Reserve. Adam wants to expose the Fed’s tangled weave of intrigue and manipulation.
In the process, he alerts the power brokers behind the Federal Reserve unwittingly. They decide he must be removed. He decides to recruit his best friend and computer nerd, Cody, to expose the Federal Reserve. So, the game is afoot. While being imprisoned and shot at, Adam witness to Kirstin about Jesus Christ. With the clock ticking, can Adam bring down the international money syndicate before they kill him?
CREED OF GOLD is actually very well structured. It keeps the audience intrigued throughout the whole movie. It’s a low budget movie but it has a good look to it. There are a few static moments but they are very few and far between. Whether or not someone believes the Federal Reserve is evil and all bankers are nefarious won’t diminish the movie’s entertainment value. The good news is that CREED OF GOLD has no sex, nudity, profanity, or unwarranted violence. However, it does have suspense, action, and adventure, and sometimes a little too much exposition.
JEALOUSY is a French movie about an actor more committed to the theater than he is to the women in his life, including the wife he left. Ultimately, the jealousy in the title seems to really be about the man’s jealousy for his profession. This leads to a movie that pretty much lacks any kind of passion, though the movie does show that the man still cares for the daughter he had with his wife and still sees regularly.
Shot in black and white, the movie opens on the man’s wife, who cries when her husband, Louis, tells her he’s leaving her for another woman. The woman, Claudia, is an actress who hasn’t gotten a part in six years. She and Louis live in a cramped apartment. To relieve themselves of this claustrophobic environment, they take walks in the streets of Paris. Periodically, his daughter comes to visit with Louis.
Suddenly, Claudia tells Louis that she’s decided to take an office job. Apparently, she’s having an affair with the man who offered her the job. Louis seems more disturbed, however, that the new job means Claudia has given up on the theater.
Alone now, Louis tries to commit suicide. He survives and discovers that he still has his sister and his daughter by his side.
The filmmakers and actors wring almost every sense of passion out of JEALOUSY. This is one of the more boring French movies you’re likely to see. The only thing that saves it are the scenes of Louis with his daughter. Also, it has a short running time. Other than that, there’s nothing particularly uplifting, much less moral or redemptive, about the French movie JEALOUSY.
COFFEE SHOP is a winsome, poignant movie about a young woman who’s been unlucky in love and is struggling to keep her coffee shop open so she can help others.
Donavan is a lovely young woman who had her dream mate walk out on her to go to Chicago to do investment banking. Now, she tries serial dating and is always amazed that nothing ever clicks. Her sister, Becky, and Becky’s boyfriend, Kevin, are concerned about her. So, they ask a famous New York playwright, Ben, to take vacation time in their beautiful seaside town hoping that there will be a match.
Before he shows up in town, however, the new bank owner tells Donavan he’s going to foreclose on her coffee shop. Further, it is revealed that Ben’s last play bombed at the box office. Donavan, when she sees Ben, thinks he’s the business partner of the unscrupulous banker, so she makes his life miserable, but he starts to fall for her (much like an old Cary Grant comedy). Then, her ex, Patrick, shows up and wants to rekindle their relationship, but he is the banker’s partner and is willing to throw Donavan’s dream for a soul-filled coffee shop down the drain.
Now, Donavan is caught in a love triangle. So, the questions are, will she recognize that Ben is the right guy? Will she see through Patrick’s shenanigans? Most of all, how can she keep the coffee shop?
COFFEE SHOP is a fun and frothy romantic comedy that also pleasantly encourages viewers to live out their biblical faith. It plays like an inviting cup of cappuccino, with a dash of whipped cream and a swirl of caramel. This is a very tight-knit, well-plotted, nicely directed television movie with lots of good dialogue, poignant moments, and heart and soul. These characters are so well drawn that viewers will think they knew them or know them. Also, Laura Vandervoort as Donavan does such a good job that the audience becomes concerned for Donavan’s future and her dream. The movie supports biblical faith explicitly, including charity. It also supports free enterprise. Also, it supports wisdom in love rather than romantic entanglements. Who could ask for anything more?
SIN CITY: A DAME TO KILL FOR is the highly-anticipated crime thriller sequel to the 2005 movie SIN CITY. Both are co-directed by Robert Rodriguez and Frank Miller, and primarily based on Frank Miller’s SIN CITY graphic novel series. The new movie is composed of four intertwining plots. Two of the plots are based on two of the narratives (“Just Another Saturday Night” and “A Dame To Kill For”) from the SIN CITY series, and the other two plots (“The Long Bad Night” and “Nancy’s Last Dance”), also written by Miller, are exclusively original to the sequel. Despite some light moral, redemptive elements, the rest of the movie’s content is excessive, graphic and immoral.
In “Just Another Saturday Night,” Marv regains consciousness on a lonely road overseeing the projects of Basin City. He also finds himself surrounded by dead young men. He tries to how he got there.
The second plot, “The Long Bad Night,” follows Johnny, a boastful gambler determined to carry out a darker plot to annihilate Sin City’s prominent antihero, Senator Roark, at his own poker game. The Senator just happens to be Johnny’s biological father, from an affair with a prostitute. Johnny, along with his “good luck charm” (a young stripper named Marcy), soon discovers he beat the wrong person at cards, when Senator Roark has him severely beaten. Now, a heavily enraged Johnny seeks to avenge the wrong done to him.
In the third and longest plot, “A Dame to Kill For,” Dwight McCarthy, a private detective, battles with and keeps control of his past and inner demons. That is, until his past lover, Ava Lord, unexpectedly returns to his life. Ava manipulates and sexually seduces him into helping her escape her violent, billionaire husband Damien Lord and his extremely huge bodyguard, Manute. Dwight soon discovers Ava’s intentions and plan are a lot more deceptive and evil than he thought.
The fourth and final plot, “Nancy’s Last Dance,” follows Nancy, an exotic dancer. Nancy’s having difficulty coping with the suicide of John Hartigan, the policeman who saved her and now appears in hallucinations to counsel her. Forced into insanity, Nancy transforms into a short, black-haired woman with scars seeking to avenge John’s death by destroying Senator Roark.
Although SIN CITY: A DAME TO KILL FOR contains a mixed, distorted worldview, it is well made. The high artistic value predominantly comes from how Frank Miller creatively connected all four of the plots to form the overall message of the movie and how masterfully the movie’s live action and animation work together.
Unlike several movies in the past that have contained a few small plots to explain a larger plot, SIN CITY: A DAME TO KILL FOR doesn’t make it difficult for the viewer to understand what’s happening. It tells the viewer when one plot ends and another one begins. Also, it clearly tells the viewer what and how each specific plot contributes to the movie’s overall message of the movie.
The live action and animation in the movie work well together. The black and white aspect of the movie gives it a comic book, animation feel. So, it’s the actual human actors, cars, buildings, etc., that create the live action. Watching it in 3D, the movie undoubtedly feels like the actual comic series has come to life and yet still maintain its animated quality. The movie wouldn’t have worked if it had been done entirely in animation or entirely live action.
All that said, SIN CITY: A DAME TO KILL FOR has a mixed pagan worldview with pagan, moral, redemptive content, and strong humanist elements. The movie’s message is that sin and evil need to be destroyed with justice that’s powered and brought about by inherently good people. However, while it’s definitely true that sin and evil must be destroyed, that won’t be accomplished by human power and ability. As Scripture clearly teaches, Jesus Christ defeated sin and evil at the cross, so God is the one who defeats sin and evil.
Also, the justice and vengeance by the inherently good characters in the movie are driven by selfish motivation. They avenge the pain inflicted by the evil of others in order to bring a sense of peaceful satisfaction. This is contrary to what the Scriptures teach. As Paul writes in Romans 12:19 and 20, “Beloved, never avenge yourselves, but leave it to the wrath of God, for it is written, ‘Vengeance is mine, I will repay, says the Lord.’ To the contrary, ‘if your enemy is hungry, feed him; if he is thirsty, give him something to drink; for by so doing you will heap burning coals on his head.’”
SIN CITY: A DAME TO KILL FOR is a thrilling, action-packed movie, with some light positive elements, but it has a lot of graphic and explicit violence, foul language, sex, and nudity. There’s also a strong element of humanist vengeance and other immoral behavior, including adultery, prostitution, gambling, lying, and stealing. So, ultimately, the movie is unacceptable entertainment overall.