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Revenge, part 2 of 8

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Continuing Wray’s outrageously good marksmanship and overall badassness.

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The intention here was to really drive home the fact that this was a throwback “grind house” movie, where they have no sense of right and wrong.

They would do anything they could to get a reaction from the crowd. There’s one other segment in the movie that uses this same mentality, and they’re both used to upset the audience.

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Skip’s famous words to Cherry end up biting him in the ass, as he’s proved to be a bit of a wuss when it comes to taking charge in a dangerous situation. Cherry outshines Skip here, lowering his worth to the group, although he’s drastically needed later on.

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A direct homage to co-collaborator on Grindhouse, Quentin Tarantino. The “from the trunk” shot is one of Tarantino’s trademarks in his films.


Pulp Fiction

Reservoir Dogs

Death Proof

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At this point the music speeds up and provides the perfect pulse effect, making the scene tense up and move forward speedily. Robert Rodriguez says that this could be his favorite piece of music in the film, and that it was very John Carpenter like, continuing to pay homage to his idol.

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Wray is now officially the leader. Hague has given the reigns over and from this point on, Wray is no longer shot on camera small, instead he’s shot very large with him in front of everyone, more aggressive and authoritative.

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Poor Tolo. He’s already lost his ring finger and his partner Carlos. The humor behind this bit is that Tolo is concerned about Wray possessing a weapon, meanwhile he’s the one that’s shot an innocent patient, back at the hospital and more importantly, Sheriff Hague on accident.

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Because of the missing reel, we completely miss out on the sequence that lead to Tolo shooting Hague accidentally, as well as the most important piece of information, who the hell Wray is.

The emphasis on “El” is intentionally funny, because it still gives the audience zero clues.

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Because of the missing reel, we miss out on the closing portion of the second act, and instead are slammed into the beginning of the third and final act.

The tail end of the second act is typically slow, but it wraps up character development and ties story arcs together. We have completely lost all of that due to the “missing reel.” So we never really find out who Wray is – which is arguably the biggest question thus far in the movie.

Robert Rodriguez used this method to stay true to the old grind house pictures that traveled around the country and would often times have beat up, or burnt or in this case, completely missing reels.

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