mista

A truly pointless album, the lowest point of my beloved Megadeth's career.

Among other things, in the original language, especially from dusk till dawn, you can't make heads or tails of what the sheriff is mumbling.

The last sentence is a bit disconnected, but I hope it's understood.

Well, it seems to me that beyond the trademarks of the Tarantino style (quotes and the like), his films are different from each other even in terms of narrative structures (in Reservoir Dogs there is a unifying story told with time jumps, in Pulp Fiction there are multiple intersecting stories narrated with just as many time jumps, Jackie Brown has a much more linear and traditional development, in Kill Bill the action and events are pushed to the extreme, the dialogues are stripped to the bone and lose their previous narrative and aesthetic relevance, in Death Proof the rhythms are stretched and the hitherto tight narrative patterns become frayed). I realize that these are personal interpretations; what I read as a constant affirmation of Tarantino's own style, others see as a repetition of the same tune.

Oh yes, elected, WARNING: SPOILER, I really enjoyed it when they beat him to a pulp; by the way, after Zoe Bell's kick the credits roll and I wonder "is he dead?" the scene resumes and I see Abertantehey's ballerina-like kick or whatever the hell his name is smashing his face. Heh heh, good times... The great thing about Tarantino's films is this too: they entertain you just like a game of Gears of War can, but at the same time, you feel like you’re watching something cinematically valid...

I wanted to write a review too, but of course someone got to it before me, defeating my laziness. I liked the film, even if we’re not at the top levels of Tarantino. There’s a lot of referencing and self-referencing, that’s true, but Mereghetti isn’t wrong (I quote him for Poletti) when he notes a certain narrative radicalism in this film. Tarantino seems to disregard rhythm and synthesis in this picture. The film is full of long, seemingly inconclusive dialogues (even heavier due to the usual implausible dubbing, especially for the black slang), of almost exhausting scenes (like the bar scene in the first sub-episode and the black-and-white dialogue captured in a 10-minute unbroken shot in the second, for example), but it all has an undeniable character which I personally enjoy a lot. Then Tarantino has this absurd talent for creating characters with incredible iconic and charismatic strength; here we can highlight Stuntman Mike, Jungle Julia, Rosario Dawson's character, and especially the fearless Zoe Bell, a true wild one... But all the characters and settings, I’d say almost all the objects that appear on screen (the cars, the t-shirts, the jukebox, the liquors) collectively fit into the Tarantinian aesthetic, this time marred by a scratched, dirty film, battered by intentional cuts and deliberate editing mistakes. And then how many beautiful feet you see in this film! And what a final chase! In short, I had a blast on Saturday night with Death Proof; if you don’t want to go see it, do as you please, but to use a common saying, it’s much better than a lot of crap that’s around.

I wanted to write a review too, but of course someone got to it before me, defeating my laziness. I liked the film, even if we’re not at the top levels of Tarantino. There’s a lot of referencing and self-referencing, that’s true, but Mereghetti isn’t wrong (I quote him for Poletti) when he notes a certain narrative radicalism in this film. Tarantino seems to disregard rhythm and synthesis in this picture. The film is full of long, seemingly inconclusive dialogues (even heavier due to the usual implausible dubbing, especially for the black slang), of almost exhausting scenes (like the bar scene in the first sub-episode and the black-and-white dialogue captured in a 10-minute unbroken shot in the second, for example), but it all has an undeniable character which I personally enjoy a lot. Then Tarantino has this absurd talent for creating characters with incredible iconic and charismatic strength; here we can highlight Stuntman Mike, Jungle Julia, Rosario Dawson's character, and especially the fearless Zoe Bell, a true wild one... But all the characters and settings, I’d say almost all the objects that appear on screen (the cars, the t-shirts, the jukebox, the liquors) collectively fit into the Tarantinian aesthetic, this time marred by a scratched, dirty film, battered by intentional cuts and deliberate editing mistakes. And then how many beautiful feet you see in this film! And what a final chase! In short, I had a blast on Saturday night with Death Proof; if you don’t want to go see it, do as you please, but to use a common saying, it’s much better than a lot of crap that’s around.

Fuck, awesome!

What a fucking night.

@autopilot: I also read it that way on Wikipedia, but back then it seemed to me more dedicated to Ellefson... wait, let me read it again for a second... okay, I've reread it, it could indeed refer to Lars, I don't know, anyway the best phrase is "You didn't ever make metal, buddy, metal made you." You didn't make metal, it's metal that made you. Heh heh, great Dave, a psycho, yes, but a great one.