Kill Bill - Volume 2

The last few months seemed like years thanks to Quentin Tarantino. Read our definitive review of Kill Bill Volume 2.

Kill Bill Volume 1 may not have been considered Oscar worthy, but its nudge-nudge, wink-wink storytelling backed by very raw stylistics and action sequences made for a feverishly enjoyable film experience. It knocked us out cold in awe with Tarantino's stunning homage to Japanese and Hong Kong film aesthetics. So finally the five-month wait is over - could Volume 2 suffer a similar fate as similar 'sequels' before it? It couldn't possibly, could it?

The answer is not particularly straightforward. Was Kill Bill Volume 2 going to do anything else but to blow us away again? As we settled into our seats at an eagerly anticipated screening, some key things about the film made one thing immediately obvious: I was going to see a movie that was to really rival Pulp Fiction in every way possible.

As the titles roll, you'll immediately be immersed in an unsuspecting change of gear and genre from Vol. 1. For a sequel to completely evolve its pace and be given a near unrecognisable face-lift is possibly the biggest risk a director can take (and faith a studio can give). Tarantino knew that if he was to ever top what audiences enjoyed from the first, his directorial ambitions would have to offer something very bold and very different in the sequel. There is really no room to attempt to fool fans with recycled fight sequences. For this reason alone, Quentin truly stands tall as the celebrated filmmaker he is.

The cinematography, misé-en-scene and camera techniques of vol. 1 carefully shot a martial arts film with a touch of spaghetti western; the variation of lenses and art direction of this volume however crafts a spaghetti western first and a martial arts movie second. For instance, the technique used to build tension as the Bride waits for Budd is reminiscent of Sergio Leone's method in his numerous classics. The juxtaposition and editing when Bill gatecrashes the Bride's wedding is presented almost like a quick-draw between two cowboys closing in on one and other.

This is the first of many surprises, and becomes undeniably crucial in revealing the true essence of what Tarantino has in store for us. The true essence of Kill Bill being that under all the freshly sliced bloodied skin and bones - Kill Bill is ultimately a love story, albeit a very brutal one.

Uma Thurman is back as The Bride/Black Mamba, a pregnant ex-assassin who was shot in the head by Bill and left for dead on her wedding day. After massacring O-Ren Ishi (Lucy Liu) and her suburban slaughtering of Vernita Green (Vivica A. Fox), the Bride continues her tiring journey and heads to hunt down the remaining three adversaries from her 'death list five'. Unknown to her, Bill (David Carradine) has already had an uncomfortable reunion with his brother, Budd (Michael Madsen), to warn him of her vengeful agenda, which also targets the deadly female assassin, Elle Driver (Daryl Hannah), as part of her payback. More significantly, the Bride is completely unaware of Bill's biggest and most important weapon - her living four year old daughter.

But for those sweating tears, worrying this film might be all talk and no action - breathe a sigh of relief, because the main action sequences are again really something special and definitely very memorable. Whereas the obliteration at the House of Blue Leaves was executed in a way to show how graceful and elegant martial arts is, the Bride's one on one with Budd is completely down, dirty and as brutal as westerns get. There's something very unnerving yet compassionate about Budd's suffocating style of torture that will have you grimacing minute by minute as you try to gasp for air. Suffice to say, Madsen is fantastic as Bill's brother, which truly matches his unrivalled performance as Mr. Blonde.

But wait until you see the big fight between the Bride and Elle! We were promised an unforgettable showdown between the two tall uber cool blondes and this is probably the most violent clash between killer bitches in film history. Elle really is the nastiest piece of work out of all of them and there is absolutely no mercy in her smackdown with the Bride. Hannah is brilliant at injecting a lot of dark humour and venom into her portrayal as an assassin and epitomises a side of a warrior (almost completely opposite to O-Ren) who concerns themselves less with honour and more with glory and greed. And then there's the small matter of her face off with Bill... Well, we're in a strictly no spoiler zone here, but let's just say we weren't disappointed.

I have a sneaky feeling the favourite chapter to surface most in pub chats will be The Cruel Tutelage of Pai Mei. Most of you have seen the intriguing film still of Pai Mei (Gordon Liu, who also played Johnny Mo in the first film) on top of the Bride's sword in a training session and this chapter unveils itself as a very intrinsic part to holding together a lot of key milestones of the plot. Speaking in Cantonese in all of his unforgiving coaching of the Bride, this is possibly one of the funniest parts of the film. Remember how hot Go Go Yubari was from the first film? Well times it by five and you have Pai Mei. Their scenes together really did leave me speechless!

The film does really belong to both Uma Thurman and David Carradine, who substantiate and humanise the conflicting love story between Bill and the Bride. The scenes between Thurman and Carradine transform the film onto another level that no one would have ever expected from Tarantino - or Kill Bill. Surprised isn't even near to what I felt.

The screenplay offers a lot of depth to both characters and you only have to listen to the succinct analogy from Bill's lips about Superman to really appreciate what's been delivered onscreen. Bill is surprisingly a very playful, supporting and wise partner to the Bride and they share a very warm companionship that is evident as important in driving the story. As likeable as he is, the audience is made aware how threatening he can be yet how similar the Bride is to him. A lot of back story to their relationship is explored and this is where character motivations that were lacking and somewhat crippled the first film are apparent and less confusing here. Bill also reels out a number of one-liners and his witty remarks will make you chuckle as he fights with the Bride.

This is really Thurman's most potent performance and we'd love to see her nominated for next year's best actress awards. As convincing a killer as she is vulnerable, she seems to nail a lump-in-the-throat believability from start to finish to the extent that audiences are putty in her hands as we're sucked into her emotional pain only to be rattled around like a pinball. Solid and stunning, it would be hard to see whether Thurman will ever showcase such range and hold over filmgoers in future projects.

As a standalone film, Kill Bill Vol. 2 is a more rounded film experience than the first instalment but it is not only difficult but also unfair to truly compare the two because they are so distinctly different. In addition, it is almost near impossible to appreciate the second instalment if you don't see the first part as there is no clarity to the protagonist and no psychological journey to follow. Volume 2's stark desert backdrop also lacks the cinematic flair and amazing soundtrack. It would be fair to say it's less visually stunning than the first and offers less gore and eye candy that got us off before. Gone are the iconic motifs and slick streets of Tokyo, and this may upset some people.

As a whole film, Kill Bill is a masterpiece and is arguably Tarantino's best film so far. It's so effortlessly enjoyable, it would be hard pushed to see anything remotely as cool this year. On its own the second volume asks a lot from anyone who wasn't there for the ride of Volume 1 to endorse what he has in store for them.

Transistor Sister
Film Critic & Tarantino Fan, Kikizo Movies