The International Writers Magazine: Film- KILL BILL Vol 2
pet is quietly put down.
Kill Bill Volume Two falls into a deep sleep with an inferior
mixture of supposed cool dialogue and comical action
months of anticipation inspired by Quentin Tarantinos first blood-soaked
instalment of martial arts frivolity, I held high expectations for the
conclusion. Sadly I found an inferior mixture of supposed cool
dialogue and comical action sequences. Some may dispute that Tarantino
only aims for the entertainment jugular and any search for deep or lasting
meaning would prove futile.
However the fast paced, hard hitting, and bone breaking fun of the first
fight has seemingly been diluted on this outing.
Admittedly Uma Thurman again shines as the bloodied and determined Bride.
She has an attractive yet convincingly deadly presence throughout the
action. And Daryl Hannah builds successfully upon her sinister role
as Thurmans embittered nemesis Elle, excelling in a slightly weightier
role this time round. Despite these entertaining turns from the ladies,
David Carridines Bill loses the haunting presence his disembodied
voice provided in Kill Bill Volume One. As Carradine appears on screen
he is exposed as a humorous and fairly normal figure, lacking the menace
of a true villain. The final confrontation between the Bride and her
ex-boss builds to a fittingly disappointing finish. Michael Madsens
Budd in many ways fails to engage, although at times you do gain a slight
sense of his tired anger.
The movie did still deliver some moments of quality, in particular the
use of the black and white flashback of the wedding massacre. This provided
the backdrop to the proceedings as well as giving useful information
to the audience. Another strength arose in the burial scene. A clever
use of darkness and sound drawing the audience into the Brides
desperation, created a great amount of tension and claustrophobia. The
desert setting that dominates the majority of the movie also adds to
the feelings of isolation and fear. Unfortunately this is not enough
to lift a series of disjointed and erratic sequences that fail to build
at golden opportunities. Although forcing a few laughs the Brides training
chapter becomes tiresome in its less than subtle attempts to amuse.
And I could not help but be surprised by the overtly sentimental undertones
to the films conclusion.
As per usual Tarantino does deliver with his trademark soundtrack, once
again redefining nostalgic cool. Yet this seems all that his pet project
aims to achieve; obscure filmic references and kitsch characters. Quentin
Tarantino would be the first to admit that he made these two movies
for himself and it is difficult to find fault with his intentions. All
I would make comment on is the success of the first part to entertain
and the inability of the second round to sustain that level of enjoyment.
For an audience member unfamiliar with the directors martial arts
inspirations and layers of insider jokes I had to take Kill Bill Volume
Two at face value. Despite flashes of the humorous dialogue and interesting
characterisation that Tarantino has previously established in his work,
I found Kill Bill Volume Two flailing in the deadliness of its final
© Ian Jordan May 2004
is a 2nd Year Creative Arts student at Portsmouth University
all rights reserved