Following the success of their feature debut Jennifer’s Shadow (2004) – an exercise in American Gothic set in a scary land called Argentina – Pablo Parés and Daniel de la Vega worked for a US company on a post-mega-disaster wasteland zombie film in which South America had been turned into an all-purpose, all-materials junkyard, with the undead as the last humane entities around (forget about the humans here!).
The project never materialised, but Diego Parés, Pablo’s brother, started to write and draw a comic series based on the screenplay – which so far remains a ruin, as only parts were finished and published. The ECish beauty and balls of Diego P.’s labour of love have now been congenially transformed by the directorial duo into a delightfully old-(1970s)school low-budget production, closer to Romero and Dante than Fulci and Lenzi. And the IFFR audience is in for the treat of treats: they get to see the film and can also enjoy the unfinished comic in an exhibition.
21/11/5：想不到西部片能有一丝回光返照
笑死个人，一个冷门电影的短评还有人复制粘贴，给你俩点赞，让复制粘贴的火出圈。
故事简单，纯正西部味。乒乒乓乓一阵射…全片很爷们，没见一个娘们！
别说 我还真挺喜欢的...
当然还是🉑看的，不烂也不精彩就是了！
平行宇宙里John Marston一家的故事 当我操起兰卡斯特 九男三狗也就是半分钟的事情
6 从《逃狱三王》到《巴斯特歌谣》老亨利突然严肃起来还真有点不习惯，见得可塑性非常强。中规中矩西部片。
Billy the old man no country to rest
昔日的孤胆英雄，迟暮的不可饶恕，没有一个女性角色，可能这就是西部吧。
就像是一场没有战术的比赛，以最简单直接的方式结束。
他一袭白衣白裤从《巴斯特·斯克鲁格斯的歌谣》乘着歌声的翅膀飘到此地隐居，赔命为跃跃欲试的“生姜”演示了江湖玩命的“老姜”风范，树林里探头探脑的决斗舞步表演得惟妙惟肖。
故事简单老套 叙事节奏有些拖沓 摄影画面和配乐还不错
这么一个俗套的故事被导演拍得还挺好看，不容易。
说一个彩蛋吧，片中比利的儿子叫怀亚特，应该就是暗示以后会成为西部传奇警长的怀亚特，怀亚特一生记录是击毙了30多人。
每一句台词都是恰到好处，不多不少，节奏也很棒， 蒂姆·布雷克·尼尔森的演技太好
孩子真可怜，刚发现一个新爸爸，很快又失去了。
拍得太英雄主义了就不现实主义，太现实主义了又没多大传奇意味，难难难
一句话的情节能拍出这种厚重感，这就是基本功。
人如果是坏的一出生的就是坏的，救了他不止2-3次，为了出名反手就是偷偷开枪弄死，真的垃圾就是垃圾，第一次他儿子被架上刀子的时候就应该弄死了。
感受就是，黑吃黑真可怕
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