Quentin Tarantino throws all his influences against the wall to conclude one of his most epic stories
It is complicated to mix disparate genres and influences without it seeming like a cheap pastiche that will be easy to dismantle. Some filmmakers manage to get the benefit of the doubt with this hodgepodge of styles, but in certain cases it is justified because It is appreciated who has been watching all types of cinema since his youth until it becomes a second mother tongue.
Few are able to put the great western classics on the same level with the most deranged exploitation spectacles, or martial arts films with disturbing character drama. Quentin Tarantino is someone for whom all this has the same value, and in few films it is appreciated as much as in ‘Kill Bill. Volume 2’.
The final slaughter
The final part of his ambitious epic film about revenge with the sensational Uma Thurman finally face to face against David Carradine, whose character gives the show its title. This part of the story, which is divided by the work and grace of Harvey Weinstein to maximize the commercial pull, It had its theatrical release 20 years ago. and can be seen streaming through MGM+.
Having already killed some of the members of the Killer Snake Squad that worked for her former boss Bill, the mysterious bride goes to the deepest part of the desert to finish off the remaining reptiles before going for her final objective. In the process we will also see her brutal training in martial arts with master Pai Mei and the bloody wedding that triggered all this revenge.
Although both volumes are part of a whole where Tarantino throws all possible influences against the wall, from the action with samurai to some detail of spaghetti western and also a section of anime, You can see a tonal difference in this second part. A slightly more restful touch where revenge marinates until it is slightly reconsidered.
‘Kill Bill. Volume 2’: resting revenge
It is here where we can have a little more space to get to know Thurman’s anonymous and mortal girlfriend, entering her past without breaking the pace or preventing the film from progressing. The filmmaker once again shows himself as a fine narrator who knows how to disrupt the structures of his films without cracking.
Thus he creates a solid show where he can dazzle us again with his good sense of action. One where the camera finds very interesting corners to place itself and capture the choreography, fascinating us with a physical style that it had not done before and would not deploy again later (in ‘Death Proof’ there is good action, but already in a more explosive and automobile terrain ). Its powerful ending is an interesting final stab at the viewer, showing us an irresolvable restlessness that adds great ambiguity to what already was. supreme entertainment.
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