Having said that, in addition to the suspicion of "Salute to Salute", there are also many highlights in "Planet of Horror". First of all, Ronaldinho's soundtrack is full of Latin flavor. When it is nervous, it is nervous, when it is sensational, it is sensational, and it matches well with his strong and exaggerated movie style. Then there is the chemical reaction between the male and female protagonists, which is very interesting. A stunned boy who makes his muscular body feel good and has a lot of nagging and nagging can save his girlfriend's life, and the other is the boyfriend's jacket after breaking up and wearing it for two weeks and I haven't found the stuffy stupid in his pocket. Little sister. I remember watching "Love Before Dawn" is a love story about two whimsical talks all day long, then "Planet of Horror" is the love journey of two nagging ghosts with no brains. Fortunately, Liaotouqing and the zombies will die together. Otherwise, if Ronaldinho wants to make a sequel, I can hardly imagine how the relationship between the two will develop. ROSE Meimei and Ronaldinho, who play short-legged silly girls, have recently started dating. It seems that Ronaldinho still prefers delicate girls compared to Quentin. Of course, in addition to the above, those who are interested will not forget the few crime scenes in "Planet of Horror" by Pi Zikun and Scalper.
I believe Quentin's "Death Certificate" has surprised many people. Especially after the fake trailers of Rob Zambi, Edgar White and Eli Roth raged on the screen, it was even harder for me to believe that this straightforward and clean movie really came from the hands of the ruffian. The hallmarks of "Death Proof" are those large, uncut dialogues. They even reminded me of Godard's two early films "Exhausted" and "Contempt" that can be talked about in a room for half an hour. Unlike Godard’s witty remarks, the dialogue of "Death Proof" is simply nonsense, and even makes me wonder when Quentin became a believer of André Bazin's realism. For example:
ROSE Meimei: What is your name?
Stuntman Mike: Stuntman Mike.
ROSE Meimei: Mike the stuntman? Your name?
Stuntman Mike: That's right. You can ask whatever you want.
ROSE Meimei: Lord, his name is Mike the stuntman?
Bar Lord Quentin: That's right.
ROSE Meimei: So what does stuntman Mike do?
Bar master Quentin: He is a stuntman.
This kind of endless boring dialogue seems to make people think that Quentin is intentional. The 90-minute set seemed to extend indefinitely, until the crushing collision came, the depressive factors accumulated by the audience were finally catalyzed into violent elements, which were vented in the most primitive way. If there are some bright spots in "Death Proof" that originated from the B film and are higher than the B film, it is the bipolar tension that fills the entire film: dull vs. exciting, slow vs. galloping, rainy vs. sunny, street vs. desert, chase vs. Chasing, just talk or not practice vs just practice but not talk. The film culminated in the transition between these two poles. So in my opinion, speculation about the end of the stuntman Mike is not meaningful. The chicks and the stuntman were originally two sides of the same coin. On the surface, there is no comparison, but in fact, no one can do without each other.
Starting from "Falling Water Dog", Quentin has brought me some surprises in every work. The "Cinema Manual" commented that Quentin's creative trajectory is gradually extending along the balance of violence and nagging, and I think it is better to change the word "nagging" to "narrative". "Falling Water Dog" is a film of "experimental color" with an indiscriminate expression. Quentin is full of talent in both violence and narrative, but it is a pity that he has tried too hard. "Pulp Fiction" reached its peak in narrative and dialogue, and the absurd and violent elements complemented the plot of the story. In "Dangerous Relationships," Quentin puts too much energy on narrative, and it is hard to find blood. As a result, the story and characters of the film are wonderful, but the excitement is hard to find, and the audience does not buy it. The frustrated Quentin produced a "Kill Bill" in six years. The first volume released in 2003 was lost in endless collages and excessive blood, but the second volume was born with a few wonderful flashbacks and simple but not simple violent designs. When it comes to "Death Proof", which is dressed in a simple coat of the B film, Quentin has explored a bit of violent aesthetics in the free play of rhythm. But compared with his heroes Leonne and Paigimpa, Quentin still has a long way to go. The fiasco of "The Mill" at the box office will inevitably make Quentin spend some time in balancing public tastes and personal preferences. From Los Angeles to Yokohama to Austin, Texas, Quentin's next stop is still only clear to him. As Quentin's iron fan, I can only wish him his way to the dark.
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