The plot and structure of Buster Scrugger's story are slightly fantastical, approximating a hard-to-read yet more interesting segment that feels like you're in it, like something that can devour you instantly, and many Unexpected fun. Like you're cherishing lonely times, it's all packaged into the ultimate romance. At 133 minutes, it's their longest movie to date, and The Ballad of Buster Scruggs is also their saddest movie ever, or at least what existentialists fear is living in a nihilistic world jealousy and sadness. Here's the problem: his presence is only allowed in an emotion that is acutely aware of conflict, fear, and failure in order to "make a difference" in each story. Their own efforts are so different, yet so similar.
In the opening shot of the story, we see Buster trotting through the looming dust in the distance, riding his horse through Monument Valley, singing and echoing through the canyon as his horse trots rhythmically . Then the director cuts to him again, and we suddenly see him around a dead tree, and the music softens. Immediately afterwards, a surreal sky sound came from Bast's guitar, the sound was low, low, low.
He took off his hat, and there was a loud thud in his head. As Bast's ghost rose from the dust, not like angel wings twinkling and came into view vividly, the absurd lyre slid into the ghost's welcoming arms, and he began to sing a bittersweet duet to the Conqueror. ballad. There is also a shot of Buster Scrooge's body lying on the ground, walking away from the body, and Buster's angel slowly rising and playing the harp in the clouds, which is surreal, stupid, it Should hang in the American Art Gallery next to Hopper and Pollock. The shot then cuts to us peering out of the porch; our view of the narrator's death and departure is not static. And death remains a constant theme in Buster Scrooge's stories—the folly, cruelty, and lingering romance of death. In the Old West, we face true death more often.
Near Algodones is the most boring title and the most mundane segment, propelling the plot with a brisk, comedic action narrative. Cowboy's fate is finalized just after he catches a glimpse of a beautiful girl in the crowd, and at this moment, the grief of dawn continues.
Set against the backdrop of a series of Pacific Northwest chills, the Meal ticket story stars director Liam Neeson as a touring actor whose stage set features a wingless thrush and a limbless young man reciting on stage A poem of great literature, a sonnet or two of Shakespeare; what he recites/acts is both absurd and hilarious Then, as the story goes on, as we keep trying to figure out the relationship between the performers The nature of it - mixed with fear, need, contempt and confusion.
In All gold canyon, it leads us to the scene of the story, and its shots are really beautiful. In the vast land, he could not see traces of human beings, nor could he see the masterpieces of human beings. Tom Waits is a gold prospector among our ancestors, digging for gold in a vast untouched oasis in the valley landscape: babbling water, lush rolling meadows, majestic mountains, and the camera is methodically focused on the prospectors. labor, so patiently and keenly observed. And then we saw a bullet how disruptive he was and how romantic he was.
The Ballad of Buster Scruggs maintains a flamboyant, contrasting look that feels like the epitome of a rough and free American open landscape.
Buster said: "I think all other people in the same disadvantaged position have very little chance of mishaps, but of course we wonder whether such a simple policy has been ignored or corrupted. Tarantino-esque levels of brutal stupidity in gun violence, although not new to the Coen family (like Miller's Crossroads) is such a stupid, almost weightless scene, but the The real weight comes through the gentle crescendo of the story.
There's also a few shots I love: lonely in a huge, bleak early morning scene in The Gal Who Got rated. The fading light in Mortal Remains; the lush swaying trees in All Gold Canyon, the billowing smoke rising from the cave; the snowy mountains, rickety carriages in Meal Ticket.
Overall, Story 1 is boring like what Stephen Chow would shoot. Story 2 is like a nightmare to me now. 3 and 4 are fine. I really feel that the quality of this anthology movie is always uneven, and it's better to make a miniseries.
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