Word: vols
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Dates: during 2000-2009
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Thurman, whose name is revealed in Vol. 2 as Beatrix Kiddo, is joined by David Carradine, the eponymous Bill, whose own unassuming lips are exposed in intricate and dynamic detail. The folds of Carradine’s mouth, parched and aged, illustrate in wrinkles what tree stumps reveal in rings. With especially tight and focused shots, Tarantino gives full billing to Carrandine’s lips; in Vol. 2, we are first reintroduced to Bill’s lips tickling a flute, then to Bill himself. The gravity of each character’s lips is sealed...
...interviews he so often harps on the elements of pop culture in his films—on the cool. But Tarantino, the cool director, is not the man who concocted the stunning dialogue of Pulp Fiction, the pulsing narrative of Reservoir Dogs, or the lurching beauty of Kill Bill, Vol. 2. Those films will satiate a cool-deprived viewer, but their genius is the work of a far greater director. Tarantino deserves more credit than his most ardent fans will allow...
...Vol. 2 makes a compelling case for a more serious interpretation of Tarantino’s talent, and the film justifies the otherwise vapid (and very cool) Vol. 1, which should never have existed as a separate film. The commercial logistics of a four-hour movie aside, Kill Bill would have worked best as a single entity, the second half imbuing the first with a certain weight. Indeed, Tarantino’s lip fetish is itself enough to empower Vol. 2 with far more powerful scenes than Vol. 1: when a tied-up Beatrix must wrap her lips around...
Kill Bill, Vol...
Kill Bill, Vol...