I doubt Quentin Tarantino would seriously object to his Kill Bill films being reviewed as two separate movies, but apparently there is a fairly long-running debate among a handful fans. Is Kill Bill one single movie or two? In a recent interview with CinemaBlend the acclaimed yet always controversial filmmaker threw in his two cents – “I made it as one movie and I wrote it as one movie.” Fair enough, but it still feels like a film that justifies its two parts.
Rewatching the first movie I was reminded of why Kill Bill is easily among my favorite Tarantino pictures. I’m so often at odds with his obsessions and excesses to the point of seeing some of his films as exercises in unbridled self-indulgence. Sure, “Kill Bill: Vol. 1” could also be considered very excessive and self-indulgent. In many ways it is. But for the most part it feels much more compact and focused. It’s fully committed to its influences and the excesses are very much a part of the genre he’s most interested in celebrating.
Volume 2 begins at Chapter Six with what may be the movie’s best sequence. It’s a flashback dripping in Sergio Leone influence that digs into the events which sparked the Bride’s quest for revenge. She and a handful of others have gathered for a wedding rehearsal in a little chapel outside of El Paso, Texas. Volume 1 tells us how things turn out and Tarantino uses that knowledge to add a very effective layer of tension to the scene. The opening 15 minutes mixes together some of the film’s sharpest dialogue and savviest camerawork.
In his signature non-linear fashion, Tarantino bounces forward to the Bride (Uma Thurman) and her continued bloodlust for those who killed her unborn baby and left her for dead. Her top target is Bill (David Carradine), the head of the disbanded Deadly Viper Assassination Squad. But first she must hunt down and cut through each of his four former assassins. Two were handled in Volume 1. That leaves Bud (Michael Madsen) and Elle (Darryl Hannah).
Once again this is very much a direct continuation of the first film and both were shot at the same time. Yet despite the clear cohesion, Volume 2 uniquely stands out as its own thing. It surprisingly digs deeper into its characters, something the first film mostly skimmed over but for good table-setting reasons. And you could say Volume 2 comes across as less spectacular and more driven by Tarantino’s signature savory dialogue.
It also stands apart in how much ground it explores. Volume 1 saw Tarantino exquisitely and violently indulging his adoration for the grindhouse martial arts movies of his childhood. This time around his cinematic focus is considerably broader, pulling influence from a wider catalog and experimenting with a number of different techniques and style choices. And all through storytelling that moves to a much different rhythm than the first film.
Tarantino is also known for reintroducing forgotten actors/actresses who have (for one reason or another) fallen off the map. Just think about it, Pam Grier (“Jackie Brown”), Kurt Russell (“Death Proof”, “The Hateful Eight”), Don Johnson (“Django Unchained“), and of course John Travolta (“Pulp Fiction”). This time it’s Carradine and Hannah who get the treatment. Both are great. Tarantino makes perfect use of Carradine’s gravelly, mellow deliveries and Hannah’s sultry ferocity.
“Kill Bill: Vol. 1″ set some lofty expectations and Volume 2 meets them while taking a dramatically different approach to storytelling. But the marvel of it all is in how well both films gel together. It makes sense that Tarantino would consider them one movie despite each having their own uniqueness.
And as with most of his films, Kill Bill is a celebration of cinema. But with Volume 2 he adds layers of humanity and pathos that makes this more than a filmmaker indulging his inner cinephile. There’s actual heart among the grit and the violence along with a dynamic Uma Thurman who fully commits to every line, every emotion, and every swing of her lethal Hattori Hanzō blade.
VERDICT – 4.5 STARS