As sequels go, most are lackluster repetitions of the original movie. Typically, sequels offer little save the same characters in the same roles replaying what feels like the same story. But then, Kill Bill Vol. 2 is not an ordinary sequel. Originally intended to be one movie, the two volumes of Kill Bill most certainly do not repeat the same plot, but combine to tell one story, an epic tale of a scope far larger than Tarantino’s previous works.
The second installment of Bill’s demise is much lighter on the gore and fountains of blood that characterized the first movie—although there are a few cringe-inducing spots—and for that it is a better film. Vol. 2 is much more like director Quentin Tarantino’s usual fare: edgy, suspenseful, sometimes funny, and above all character driven.
Vol. 2 focuses mainly on the relationship between the main character of The Bride, played by Uma Thurman, and Bill, played by David Carradine. A lot of backstory is clarified, and the characters made to stand in a full three dimensions.
One of the more interesting characters is Pei Mai (Gordon Liu), a very strict old Cantonese master of the martial arts. Both The Bride and Elle Driver—another of Bill’s assassins—received their training from Mai. Despite being established as old, Mai seemed to have an endless energy about him, which may have had something to do with the fact that the actor portraying him is certainly not old. Mai’s habit of stroking his long, pointed white beard was at once funny and slightly disturbing.
Of course, one essential feature of all Tarantino films is the cinematography, which was certainly not wanting for excellence in Kill Bill Vol. 2. In particular, the scene in which The Bride rescues herself from being buried alive is very well shot, making full use of camera angles ostensibly unavailable when filming the inside of a six foot long wooden box. Also, all of the fighting scenes were captivating, because the rapid-fire changing of camera angles mimicked the rapid-fire exchanges of blows between the participants.
In the same vein, the highly unorthodox styles used by Tarantino are masterfully chosen. For example, the opening of the movie shows The Bride driving a mid-20th century car in a black and white scene straight out of the 1950s. In addition, the visual feel of the movie was very much reminiscent of the 1970s.
Kill Bill Vol. 2 is, quite simply, an excellent film. Anyone who has not already seen it, or even worse, not seen Vol. 1, is strongly encouraged to see them as soon as possible.
