Against the backdrop of a big shaking tooth, Christopher Waltz, who shined in "Inglourious Basterds", appeared again, still very eye-catching and relaxed, but this time he was a good guy. He unexpectedly opened the prelude to this lively drama that lasted nearly three hours shortly after the opening, and every subsequent shot was also unexpected. At the same time, the big shaking teeth also remind us: have fun. But this time he is not the leader. He has difficult opponents Leonardo DiCaprio and Samuel Jackson (returning after N years of Pulp Fiction), these two new Quentin films Faces also add a lot of fun to us. Samuel Jackson’s dog-legs who forgot his skin color are hateful. Leonardo’s fierce and 2x image still fails to break through his usual pattern. It was a small breakthrough of his own. Unfortunately, No. 1 protagonist Jamie Fox lacks Quentin's humorous cells. Although he is very manly and violent, and his clothes are very strong, his stiff facial expressions make him unable to let go at the performance level, making Jiang Ge only action scenes. , There is no character drama. Therefore, the limelight was completely overshadowed by Waltz when the two were paired, but Will Smith, who has a bit of comedy, is more suitable for this role.
Looking at the visual elements again, in the southern United States in the 19th century, the use of re-guns to fight gun battles is not a sight and entertaining. Naturally, Quentin will not miss the opportunity to be addicted. This time, the main premise is still politically correct, and even Quentin himself went out and was blown up. The gun battle was quite enjoyable, especially the bloody battle in which Jiang Ge used people as trenches. But the gunfights are fierce. Although Jamie Fox’s marksmanship is countless times stronger than Jeff Bridges’s, this film does not have the old sheriff on the snowy plains in "Terror of the Earth" who shoots much less frequently. The adventure and epic sentiment that appears on the horizon with a little girl riding a horse may not be the dramatic effect that the director attaches the most importance to.
Speaking of dramatic effects, Quentin’s habit is to constantly postpone the climax of the plot, or insert an irrelevant nonsense or small rumor from time to time, and at the same time use a multi-line narrative or flashback or even a circular structure on the large structure, which makes the audience deeply eccentric. From time to time, I receive surprises in the labyrinth. The story of "Liberated Jiang Ge" is very long. It is not hurried or slow to speak. There are many unexpected branches at the moment when it is about to end. The counterattack), this is Quentin’s characteristic, but it’s basically a step-by-step and linear narrative. The shots and editing are also very classical, missing those in "Pulp Fiction," "Kill Bill," and "Shameless Bastard." Kind of magical big vision or big close-up effect. The only exception is probably that the masked man began to argue about the quality of the mask before the night sneak attack, which is also the most Quentin story in the film.
In short, this is still a very enjoyable and wonderful movie, but Quentin's style is obviously more restrained.
WeChat public account: feidudumovie (feidudumovie)
View more about Django Unchained reviews
