Smelly said:
Why not?
It's playing on ideas of the genre.. because you've gotten to know them - therefor they must be the heroines and therefor at least one of them must survive.
But he's going against the genre.
Which is great, but then you're left with a film where you don't care about what happens. What's the point in establishing characters through all this dialogue, if they're not even used? That, to me, stank of "I IS TARANTINO, I WILL WRITE AS MUCH DIALOGUE AS I CAN TO SHOW YOU I IS COOL" (which I could have lived with if it was good dialogue like Pulp and Dogs have, but it was pointless relationship crap. Noone cares).
So, you're left with pretty much a film where you don't care what happens to anyone. I would have cared if it had been at least one of the first girls to go back for him at the end. And that would have given more... sense to the revenge. If I'd written it, I'd have had the lap-dance girl survive (say she ends up shagging a guy, and thus staying somewhere else), and then 14 months later, she's with these girls (replace Lee, she was pointless).
And on the topic of genre, why did he make it as this awesome, Grindhouse flick, which really, really worked in the first half, I put aside the fact the actresses sucked and the dialogue was worse, because the style was cool. Then, randomly, the second half just loses all this. Apart from, the black and white section, which then doesn't fit because the film is "modern".
Imagine how much better starship troopers would've been if every one of the main characters DID get killed on the first planet trip...
etc etc
I've not seen it, lol. I know, I'm awful.