每次誤撞上這種villain protagonist的故事都得過(guò)大半天才能開(kāi)始消化看預(yù)告片還以為是個(gè)紅脖小清新片沒(méi)想到竟然這么濃非常悲傷的一切蔣依杉吧非常充足的cultural criticism聊點(diǎn)donut hole足夠好笑總的來(lái)說(shuō)是上乘的娛樂(lè)了想來(lái)挺感慨也就只有小地方長(zhǎng)大的人(我)會(huì)魔怔LA以及這地方所象征的東西從好萊塢到M13就連323這個(gè)區(qū)號(hào)都是能帶回老家吹牛逼的料出字幕時(shí)候腦子里的第一個(gè)想法:終于知道LA那么多homeless是從哪兒來(lái)的了go back to Texas(←joking
Shoot down the baddies, strike a pose, get rich! The 2nd movie of the Dollars trilogy could be satirized in these terms, but how unfair would that be? You don’t watch Sergio Leone for deep philosophical insights, but for his filmmaking. For Ennio Morricone’s splendid scores too: he knows when to go silent, how to creep you out with dissonant strings, when to get synchronized and punctuate iconic gestures. He can charm with a chime, and soar into epicness or poise for a showdown. An interesting relationship between the two MC and internal conflicts among conspirators also make for a good story. But it's Maria Volonte as an eerie, brutal, cunning and even sensual villain who shines most.