"The clear blue sky, the rich red desert, the surging black smoke, the sick white skin, the ugly yellow pussy, the gloomy blue body, the crazy orange explosion... All bright and extreme, ostentatious and wanton colors collided together, just like a disaster created by the painter accidentally knocked over the paint plate, which was terrible. However, under the exquisite and clever, sharp and decisive lens of Strelon, a magnificent scroll of ink and heavy colors was outlined, and the most exciting, bold, outstanding, brave, weird, and excellent work in 20 years. In front of this work, any language is pale and powerless, which makes me feel a strong sense of powerlessness."

This review comes from the professional film critic Mick Lasalle of the Hollywood Reporter. It is not the New York Times, nor the Chicago Sun, nor the "variety show". It is the "Hollywood Reporter" who is the leading figure in the West Coast film reviews. When this review was released, it fell below everyone's glasses.

At the beginning, Mick is not stingy with his praise and clearly expresses his unwavering position.

"Before writing this review, I sat in front of the computer and stared blankly for an hour, because my brain received so much information that I had to spend some time slowly digesting, clarifying my thoughts, and savoring every detail and picture in the work "Raging Road" was so blurry, but so clear. This contradictory madness made me feel the urge to enter the cinema for the second time. This is once again since Godfrey-reggio's "Immbalanced Life" in 1983, I have once again felt the power of the camera language and the richness of the film art."

It can be imagined that Mick was having difficulty writing this review. Before this, the West Bank media forces had almost never given Lance a good face, even the "Borrowing a Knife" led by Tom Cruise, but this time, the situation reversed, and Mick's entanglement and caution can be felt between the lines.

"As a director, Strello showed a unique idea in the camera language - perhaps not all of them are so pleasing, but it is undeniable that the scene scheduling of the "City of God", the use of light from the "Borrowing a knife" and the use of the color of the "City of Sin" all left a deep impression on people. This time, Strello even brought the scene special effects to the extreme and created a work with a sharp style. What's more special is that almost every shot has been cleverly composed, not only showing the relationship between the characters, but also psychologically suggesting the plot, venting the shock of the camera language layer by layer, and following in layer by layer, making watching a movie a truly enjoyment.

There is a scene in the movie where the heroine Ferosa kneels on the endless desert. The sunset is like blood, the breeze is gentle, and the dust is rolling. Her prosthetic limb is thrown behind her, leaving deep and shallow footprints, but it is soon covered by the sand that blows. The blue sky is so clear that it seems to be able to touch it with a raising hand, but the hazy halo is out of reach, and the emptiness makes Ferosa look extremely small. Ferosa whistles to the sky, completely venting all the emotions in her heart.

But such a simple picture has become the most beautiful, magnificent and shocking shot in 2006.

The sadness, despair and pain revealed in Ferosa's roar are undoubtedly the first layer of information received by the audience.

After careful observation, you can notice that Ferosa's armor was covered with blood and her cheeks were covered with scars. Her prosthetic limb was thrown weakly in the desert and was almost buried. The audience could feel the heavy and lonely heart of Ferosa, covered in scars and staggering for a long journey. She originally thought she had reached the end, but was told that the end had disappeared. That confusion and loneliness were the second layer of information received by the audience.

The high and distant sky, the long and dangerous desert, the breeze blows, and the red desert rolls in like white waves. The tranquility revealed in the chaos has a thrilling beauty, but behind this magnificence are the hardships and pains of the apocalypse, without water, food, even weapons, no companions... and no hope. The vast silence makes the audience's hearts sink slowly. This drowning state of struggle swallows the breath bit by bit. This vastness and magnitude are the third layer of information received by the audience.

But, this is not the end.

After watching the movie, when you savor it carefully, you can deeply feel the low and difficult status of women under the background of the apocalypse. Ferosa went through thousands of difficulties and almost broke out a bloody road, but she still couldn't find any exit. She seemed to have no choice but to become a men's accessory. The disappearance of freedom, the destruction of human rights, the slimness of vitality... There is also the annihilation of hope, the chaos of order and the decline of morality. This is the most terrifying place in the wasteland doomsday. This is the fourth layer of information.

Just this shot, a picture, Strello applies the collision of colors, the architecture of space, and the contrast of light to the extreme, and stimulates the actors' most realistic and explosive performance, completing the narrative of the entire story. Strello truly evolves the film shot into an artistic language, without lines, actions, or even unnecessary editing and camera positions, and presents the depth and breadth of thought.

This skill reminds me of Stanley Kubrick.”

Incredibly, Mick placed Lance at the height of Stanley, a true film master and a recognized master director by countless film critics. It can be said that every work in Stanley's directorial career is worthy of being recorded in history. Even the unsatisfactory "eye-opening ring" at the end of his career is far beyond the average level of many directors. But now, Mick, a representative figure of West Bank film critics, puts the two people on the same level for discussion, which is not only incredible, but also earth-shaking.

But, this is not the end.

"What makes Straylo more admirable than Kubrick is that the combination of artistic lenses and commercial elements has made his works find a balance between elegance and popularity, and truly makes art a work that everyone can understand and everyone will have different understandings.

The entire work of "Raging Road" Strello insists on filming on the spot in Namibia, which also creates the most magnificent, most unique and dangerous work in the history of the film.

In the tornado of sandstorms, it seems like he is on another planet, the roaring punk armored locomotive, amid the rock roar of the guitarist in red, killing like Binhu, the explosion of the flames burning sky, the fragmented collision, the fight with the bayonet, the tear-blooded tear, the tumbling and burning cars are like fleeting stars; the mighty red sand is connected to the sky, the galloping sprints and chases, the punk is rushing in the blood, the fanatical sons of war are not afraid of death, shouting "witness me", spraying silver paint, Death is like returning, and die together; burning flames and splattering blood intertwine into a magnificent picture, blooming gracefully in the endless desert, red, yellow, black, blue, white, each color is as colorful as fireworks, intertwined in gloomy and terrifying cold blood, as if a little wind and movement can kill life; in the pursuit of life and death, there is no superman ability to fly over the eaves and walls, no halo of the protagonist who survives the disaster, rely entirely on his/her ability to fight, punches to the flesh, moves to death, guns and guns are burning...

Everything, in the sharp and straightforward editing connection, cooked a feast that will never be forgotten, mixing all the desolation, cruelty, despair, metal explosion, and endless pursuits in the style of steampunk, from a simple film composition to a thrilling escape and murder.

Strello took this blood and fire competition to create a magnificent and wild feeling like oil paintings. Strello was the only one who could shoot the cult-style steampunk to create an aesthetic and artistic temperament; Strello could shoot a sandstorm into the magnificence and magnificence that made people want to be in it.

When the "City of Sin" was released, everyone was amazed at the reinterpretation of violent aesthetics by Strello and leaving Quentin Tarantino's "Kill Bill" far behind. But after the "Rampage Road" emerged, no one dared to talk about violent aesthetics in front of Strello.

The rough texture that is overflowing in the camera is something that cannot be simulated by green screen shooting and computer special effects. It reveals the tragic and sad beauty of no one else but me, unswervingly, moths to the flames. There is no right or wrong, only survival, and even the so-called justice and evil are fighting for life; there is no hesitation, only violence, no reason, only madness, no morality, only life and death, and that pure appearance is revealed through the camera, which is so beautiful that it is thrilling.

Bold, crazy, wise, calm, arrogant, wanton.

This is the 'Raging Road', it is also Lancelot-Stralo. Only Strelo can create this work, and only Strelo can present such a visual feast, a unique and unmatched feast. In front of this work, all other works in this summer have been overshadowed. This is not only the most magnificent and exciting work in 2006, but also the most outstanding work since 2000. It is even another work that has changed the course of commercial films since the Great White Jaws.

During the question session after the premiere, a man stood up and couldn't help himself. He asked excitedly, 'Lance, how did Ferosa drive into the dust storm finish the filming on the spot?' The man asked, his name is Quentin Tarantino."
Chapter completed!