I was a little disappointed in the previous paragraph. But the fusion of music, dancing, and bar elements in Quentin's movies have always been so authentic, so even if they are disappointed, they are mediocre. A bit of returning to the essence of watching movies, seeing a girl with long legs and long hair as beautiful as Barbie, everyone is willing to forgive her for being rude or mentally retarded.
It is very interesting to compare the two parts before and after. The previous one was very boring, but it brought out the main relationship: a male stuntman, driving a car with King Kong, and targeting a swaggering hot girl. Death brings pleasure and escapes responsibility as much as possible. But the same elements are completely different in the second part. It seems to be saying that as long as women evolve, men will not continue to succeed, and they will die as badly as stupid women. Being killed, this matter is just a food chain.
The section where the swaggering hot girl actress wears boots in front of the yellow car is so cool and really makes me like it, so I thought, it must be her main goal to become a stand-in man in the end. Because of her bare feet, her tone is the most ostentatious.
The three actresses are waiting for Zoe at the entrance of the supermarket. This is the plot, which also brings out their identities. When Zoe appeared, the camera surrounded four people in the restaurant chatting (that is, chattering), I found myself still paying attention to the black girl in boots and the black girl in curly hair. When they evaluated the Australian female stunt Zoe, we still couldn’t see whether she had any What material. At least, the girl in pink T looks plain and good-tempered. But at this time, the blonde cheerleader actress Lee has clearly fallen into the pure blonde beauty type in the first half of the plot. When she was left with the car seller, I really thought it was funny. The relationship between these four women is very real. It seems that some people around me have concise but interesting conversations. (Of course, we don’t have such wild and hard-working car skills. We don’t even have the strength to crush a man)
Until the 1970 white paint car appeared in the second half and Zoe decided to convince everyone to let her fly solo, I still didn't know that Zeo was such a wild. People shouldn't look good. When her long legs are flying on the car hood and the wind blows her clothes under her chest, compared to this, anyone can think of the coolness of Barbie Black Girl's posture, the stupidity of drug abuse and crappy love. The coolness of adolescence... is fake, ridiculous, powerless, and it's easy to get killed.
The three women in the second half know at least how to protect themselves with guns, avenge revenge, and drive a car well-this is a major factor in confronting men. When Zoe rode on the car door like an ancient Roman fighter and waved a long iron rod, I was already laughing. It's really Quentin's kind of prestige, but this time there are no guns and knives, but a car.
The man cried bitterly, like a doll. But the three women didn't plan to let him go at all. When the car chasing scenes, the brutal fight scenes, and THE END freezes, I really find it super fun. The so-called retro filming recalls the purity and exaggeration of Hong Kong films in the 1970s, and worships Bruce Lee's era of "convincing people with strength" instead of later "convincing people with virtue". What could be more straightforward than this freeze frame.
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