The two men take us through the production process and their experiences making the movie. A lot of time is spent discussing the cast’s performances and Miller talks about how nervous he was on the first day that he had to direct Bruce Willis. Rodriguez is a gracious collaborator and praises Miller for teaching him a lot about directing. This is a fantastic track that is jam-packed with great insights for fans of the comic book to enjoy listening to.

If you're a fan of the film, then this track is a must. It's really cool to know which actors filmed together and which didn't. Rodriguez is always a good, enthusiastic speaker.

A lot of talking, and covering a wide range of topics. Technical details to be sure, and actors, and how little was changed from the comic artwork to the screen.

Some comments like explaining to Willis that there is a difference between one panel that is nude, and a lot of minutes on the screen being nude. And Britney Murphy insisting on posing certain ways that they thought might seem tasteless in a movie that worked on the page.

If you loved the film, the track is a must listen.

Rodriguez flies solo for the first bit as he goes into the more technical details of the filmmaking process. He would make an excellent teacher as he is never bogged down with hard to understand concepts, instead making them understandable to the layman. As always, he is an engaging and enthusiastic presence and once “The Big Fat Kill” segment starts up he is joined by Quentin Tarantino who shares his thoughts. After Tarantino exits, Bruce Willis comes on for “That Yellow Bastard” and speaks about how he got involved, his love of film noir and so forth. This track is a fantastic lesson on how to make movie outside of the Hollywood system.

This commentary has dead spots and there’s too much narrating of the onscreen action, but they drop a couple of whoppers: Rodriguez almost did a remake of Kiss Me Deadly in 1997 with Michael Mann producing prior to coming up with this concept; Tarantino was inspired by the lighting in Argento's Suspiria and Inferno for his scene; and Coppola came to watch them film on green screen and came away thinking “this was my dream for Zoetrope” (re digital cinema).

Not as good as the first track, with a few long moments of silence, some redundancy with the first track, and things are not improved greatly with the guest speakers. Tarantino is always interesting, but he seems to be watching the film, and off on tangents quickly.

Not actually a commentary, but a recording of the crowd for the Austin, Tx premiere. Interesting way to attemp to recreate a theater like experience in your own home.

Yup, not really a commentary but listening to the audience reaction is fascinating & funny. One of the best DVD bonus features I've come across.

Listening to the raucous laughter and "oooohhhh" of excitement when Yellow Basted gets his comeuppance does not sound revolutionary. It is. Recording the audience during the Austin premiere and releasing it with the super special edition of Sin City, Robert Rodriguez's is on to something. So much so that I would say EVERY event film should feel obligated to release their films with an audience reaction commentary. And why not? For those of us who are socially inept and/or sick of going to the movie theaters just to be annoyed, this is the answer. I've been thinking about this type of commentary for years and watching it realized makes me proud that commentaries are indeed evolving and exploring new approaches.

Absolutely worthless waste of time. Can I give a commentary a negative score? This "commentary" is even more pointless than the Bowling for Columbine commentary that was done by a bunch of interns. Watching paint dry is more productive than listening to this "commentary," because it means you actually painted something.