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Much of this material is terrific in purely cinematic terms; one of Tarantino's saving graces as a filmmaker is his often surprising capacity for contemplative moments and patches of plotlessness.
Although overall impact of Tarantino's homage to chick-driven actioners and auto demolition derbies remains about the same, pic's second half, in particular, benefits from the further detailing it's now received.
Tarantino's very bloody half of Grindhouse.
Freed from the constraints of the Grindhouse package, Death Proof can now spread out, find its proper rhythms, and emerge as another excellent Tarantino classic.
A comprovação de que, nas mãos de um diretor que conhece a fundo a técnica e a história do Cinema, até mesmo um exercício de estilo sem grandes ambições pode representar uma experiência apaixonante para quem ama e respeita a Sétima Arte.
Clearly the work of somebody who has ingested Carol J. Clover's Men, Women, and Chainsaws, yet it is also more
"raja" koja voli Tarantina %u0107e imati itekako razloga da mu oprosti ovaj eksperiment.
Feels much longer than it is.
Death Proof is superbly made. There's a terrible tension watching these beautiful and spirited young women getting too close to the flame, followed by enormous relief when the mood changes in the second story.
A well-controlled buildup of expectations, suspense, and character contrast.
The problem for Tarantino in Death Proof is that the girl talk that occupies so much of the running time is anything but true to the culture 50 years ago. The setting is contempo, but the movie style is period
I've rarely seen a filmmaker, in current Hollywood at least, expose his sexual and sadistic kinks on screen with such shameless glee.
A tedious, meaninglessly anachronistic project.
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