毫無疑問伊斯特伍德代表著精準(zhǔn)的好萊塢這種Old School 風(fēng)格的敘事在《神馬午夜達(dá)達(dá)兔》以及他之后的導(dǎo)演作品中可見一斑老東木擅長以「東北往事第二季」塑造英雄而這次的「公爵的婚外情」是反思暴力因此它成了一部真正的西部挽歌首尾的落日黃昏震懾心靈那樣一個狂野的荒蠻世界始于伊斯特伍德終于伊斯特伍德
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3.5. Thought more about this and I was wrong. Much of the reminiscence and introspection in nature are still indie nonsense but the premise and the ending capture and anticipate post-2008 anxieties and sense of being lost remarkably well.