Tarantino's early works. Although it cannot be compared with Da Vinci’s first egg and Einstein’s first bench, leaving behind the name of great and not great later generations, Quentin’s career in filming has considerable value in existence. . To be brave to say, Director Quentin, that catfish-like face is as "violent" as his movie, hitting the viewers' hearts, the more evil they look. Sorry, this is disrespectful to me, but it is not. Let me express my love for Quentin's film style superficially. Before Falling Water Dog started, there were a bunch of bad ABCs that needed to be blocked, most of which came from the mouth of Young Master Kun. A table of "party representatives" sat together, pulling from Miss Mai's "just like a virgin" to a waitress who lives on tips, whether it's Toby Cheung or Toby Wong. This is the impetuous, excited, and confused 80s. From then on, there were signs of violence. The violent language was only enough to show off. Also note that this is not a Saturday movie, watch the children well, and put the remote control in place. Don't say Quentin is not kind, I didn't warn you. Next, when entering the film, the audience can understand that there is one person who is the general dispatcher of a group of bastards. He died easily, but his death is very important. He is naturally Quentin. He deliberately painted this group of bastards with colorful paint, kumquat orange, blue and white powder, playing with these eggs at will, like playing an Easter game, hiding them, and then finding them out, blinking at you intermittently. If you want to see the bleeding, let the blood flow from the beginning to the end of the film, happily. You are sitting in the passenger seat, turning your head to look at the bloody, but helpless shadow. As a good citizen, you may only give a little sympathy out of morality, but there is still fear and admiration for blood in your heart. Later, the film ended. As a good citizen, you still stick to morals, but you are not only sympathizing, but also the "if" you hypothesized. I assumed that if the undercover policeman was Brown (Quentin) and he just died in a car, wouldn't it be impossible to die? It made me happy? But then, the story of catching the ghost is completely different. The reinforced concrete is cold enough. It must stimulate your senses little by little. A large piece of cold concrete floor, a life as big as a slap, being washed with steaming blood. Tell you, this is a contrasting sentence. Visually, you may not feel such a perverted impact, but there is a kind of fear. Its awe-inspiring power can always sneak into the memory afterwards and bomb it twice. As Quentin's maiden show of violent aesthetics, after this interpretation of the despair he realized, it is not difficult to see the homework he has done behind the desire for success. Catching a thief is the theme of falling water dogs, like a love triangle, and even the results are similar. The police catch the thief, the thief finds the undercover police, the undercover police find the most trustworthy thief as cover, and finally fight to the death. What's interesting is that Quentin still didn't think the story was exciting enough, so he played a lot of flower guns. He shows his personality from the narrative structure, and Superman wears his underwear outside to create his personal brand. He also gave the audience another identity through witty and humorous line design, a talented screenwriter. The valuable thing is that Quentin also has tenderness, and is very good at creating an atmosphere. Before the departure, Mr. Orange performed in the room alone, the state of mind that he had foreseeed, but had to fight against fate, was very natural. Tim Rose (1900 in "The Pianist on the Sea") has no doubts about his acting skills, but Quentin has done a lot to set this stage. After the mountain springs flowed through, the "love" swayed again in the storm. Marvin, the hapless policeman, had his ears cut, his cheeks scratched, and gasoline spilled on him, and he could still insist on the revolutionary "I won't say if I kill him". To be honest, I was seriously moved by the scenes in this film. Only afterwards, Quentin is not only an artist, but also a successful businessman. To please the mainstream, as long as it is handled well, no one cares whether this is a compliment or from the bottom of the heart. The cast, now it seems, is a bright spot. The quality of the film will not necessarily shrink when it is old. Many bastards on the screen have gathered here. What I admire most is a series of dialogues, ridicule, dispute, reasoning, dialectics, and confrontation. This group of desperadoes has always had the highest ideal-to be "professional." As for Quentin playing commercial elements all the way, literary and making money, making Quentin-style movies, devoting himself to his violent aesthetics, and insisting on his own violent aesthetics, earning a place. It is normal to look up, sigh, and disdain. Chunlan Qiuju, each is a show of the moment! Orange's performance in the room by himself, the state of mind that he had foreseeed, but had to fight against fate, behaved very naturally. Tim Rose (1900 in "The Pianist on the Sea") has no doubts about his acting skills, but Quentin has done a lot to set this stage. After the mountain springs flowed through, the "love" swayed again in the storm. Marvin, the hapless policeman, had his ears cut, his cheeks scratched, and gasoline spilled on him, and he could still insist on the revolutionary "I won't say if I kill him". To be honest, I was seriously moved by the scenes in this film. Only afterwards, Quentin is not only an artist, but also a successful businessman. To please the mainstream, as long as it is handled well, no one cares whether this is a compliment or from the bottom of the heart. The cast, now it seems, is a bright spot. The quality of the film will not necessarily shrink when it is old. Many bastards on the screen have gathered here. What I admire most is a series of dialogues, ridicule, dispute, reasoning, dialectics, and confrontation. This group of desperadoes has always had the highest ideal-to be "professional." As for Quentin playing commercial elements all the way, literary and making money, making Quentin-style movies, devoting himself to his violent aesthetics, and insisting on his own violent aesthetics, earning a place. It is normal to look up, sigh, and disdain. Chunlan Qiuju, each is a show of the moment! Orange's performance in the room by himself, the state of mind that he had foreseeed, but had to fight against fate, behaved very naturally. Tim Rose (1900 in "The Pianist on the Sea") has no doubts about his acting skills, but Quentin has done a lot to set this stage. After the mountain springs flowed through, the "love" swayed again in the storm. Marvin, the hapless policeman, had his ears cut, his cheeks scratched, and gasoline spilled on him, and he could still insist on the revolutionary "I won't say if I kill him". To be honest, I was seriously moved by the scenes in this film. Only afterwards, Quentin is not only an artist, but also a successful businessman. To please the mainstream, as long as it is handled well, no one cares whether this is a compliment or from the bottom of the heart. The cast, now it seems, is a bright spot. The quality of the film will not necessarily shrink when it is old. Many bastards on the screen have gathered here. What I admire most is a series of dialogues, ridicule, dispute, reasoning, dialectics, and confrontation. This group of desperadoes has always had the highest ideal-to be "professional." As for Quentin playing commercial elements all the way, literary and making money, making Quentin-style movies, devoting himself to his violent aesthetics, and insisting on his own violent aesthetics, earning a place. It is normal to look up, sigh, and disdain. Chunlan Qiuju, each is a show of the moment!
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