So I can't talk nonsense here. Like you guys, I also like the BT to the extreme, using 4 slow mirrors and 4 angles to show the bloody and bloody crash scenes-no one has done it so thoroughly like Quentin: Oh, can’t see clearly Ah, with a slow mirror, oh, it’s not fun to watch, go back and look at it from another angle, oh, it’s not irritating, and another angle to see how that beauty’s thigh tears apart from the body under the impact and flies to the road. Somersault...fully understand the taste of SLASH FILM fans, and considerate at home.
Just like you, I can also see the dialectics of CLASH and SEX in the film, because there are too many sexual hints. The number of times the women's thighs are opened here is no more than the number of times that strong music appears. Come less. I very much suspect that the evil Quentin was shooting the movie as a sexual thing naked this time: the first half, foreplay, orgasm, male and female, and the second half, foreplay, orgasm, female and male, one point. Are unambiguous. Cars are treated as huge sexual devices colliding with each other. In contrast, David Cronenberg's CLASH is too vague and not as frank as Quentin.
Finally, just like you, after enjoying this "Death Proof" (DEATH PROOF), I am looking forward to the second half of "The Mill", Robert Rodriguez's supposedly more daring " "Suo Girl·Zombie·Machine Gun" (Planet Terror) comes as soon as possible. The combination of two swords, "Grindhouse", which resurrected the cult film tradition, definitely deserves the title of the most exciting and cool this year.
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