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A |
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A- |
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| Direction: |
A |
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A |
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Second Helping Well Worth the Wait
by Adam (movies profile)
Jul 8, 2008
466
of
618 people found this review helpful
Kill Bill Vol. 1 was a blood-soaked epic tale of revenge, an old concept resurrected by Quentin Tarantino and morphed into a sensational exploitation film. The character development was minimal, the action raw, and the coolness-factor through the roof. The movie mixed breathtaking Japanese Anime with sets seemingly sucked out of the old 70s grind house films of yesteryear. Even with the whirlwind story and minimal plot, it still served viewers a dish that was anything but cold. To say the very least, I have been anticipating this date since the final moment of Vol. 1 left us with a cliffhanger ending so abrupt it seemed cruel. At first, I was angry that Tarantino had not just kept the two parts together; however, after viewing the sensational conclusion to this story, I am glad that he split them apart. Kill Bill Vol. 2 is a completely different film that I believe is even better than the first.
The plot of Vol. 2 is fairly simple with Uma Thurman, aka The Bride, attempting to cross off the names of the three remaining members of the Deadly Viper Assassination Squad she has yet to kill. The story is different from Vol. 1, however, by delving deeper into The Bride's past and introducing elements of a bittersweet love story. Viewers don't necessarily need to have seen the first half with Vol. 2's extensive development easily summing up the simple events of its predecessor.
Uma Thurman is as charismatic as ever with touches of sarcasm, wit, joy, and sadness. The Bride is a hero that becomes much easier to like in Vol. 2 as more of her past is uncovered. We even get to finally hear her REAL name. The film's remaining three baddies are interesting and add touches of diversity throughout. Michael Madsen, who some might remember as the sadistic Mr. Blonde from Tarantino's breakout hit "Reservoir Dogs," plays Bud, a killer who accepts what he has done and realizes that The Bride is coming for him. His common simplicity makes him a welcome addition to the film's countless different eccentric personalities. Daryl Hannah is Elle Driver, the seemingly-crazed nurse assassin from Vol. 1 who is more than ready to get in on the action. She is no less vibrant and ruthless and seems to represent what The Bride might have been like before she tried to leave the "profession." David Carradine, whom I still remember watching on television as the noble Kwai Chang Caine in "Kung Fu," is the elusive Bill and finally shows his dastardly face quite early on in Vol. 2. He is a sly and cunning villain who seems easy to get along with until stabbing you in your back. By far my favorite character however, was Gordon Liu's Pai Mai. The ancient teacher is wise and legendary while providing fantastic comic relief with a simple flip of his beard. The priest is a near-mythological character adapted from countless old martial arts films. Also, make sure to watch out for Samuel L. Jackson in a quick cameo role.
Kill Bill Vol. 2 is a much slower-paced film than its predecessor and brings the depth and humanity to its characters that the first so sorely lacked. Dry dialogue and dark humor are laced throughout without diminishing the several emotional moments essential to the story. The campy violence has been severely toned down (except for a good old Eagle Claw eye-plucking) which brings a more realistic taste to the movie. The music is more melodic and flowing compared to Vol. 1's psychedelic beats from the likes of The 5.6.7.8's. Overall, this second half of the film simply fills in all of the plot holes, additional information, and story development that were needed.
Quentin Tarantino has already been heralded as the Master of Pop Culture ever since he released his masterpiece, "Pulp Fiction." By making Kill Bill, he has shown that not only can he successfully direct a unique, exhilarating action movie, but with its conclusion, he can also give it a heart and soul. Within the sum of these two films lies a piece of cinema to treasure. |
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