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Quentin Tarantino may be an unapologetic sadist, but he is clearly a fetishist as well. Kill Bill, Vol. 2, the follow-up to his ghoulish and gaudy first volume, is an ode to the most cunning and sensuous lips ever to grace the screen...
...Thurman’s outer mouth headline a marvelous cast of lips at the heart of Tarantino’s brazen and torrential work, which opens nationwide today. Under the lens of Robert Richardson, an emerging master of the close-up, Thurman’s lips star in Vol. 2 as though they were themselves a separate character. Indeed, an entire subplot could be drawn merely among the players’ lips, which Tarantino leaves under scrutiny through his final scene...
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...
Quentin Tarantino continues his found-art odyssey through the fringes of culture on the soundtrack to Kill Bill Vol. 2, coming up with yet another bounty of oddities and forgotten “classics.” But, though providing an intriguing and original listen, this installment lacks the immediacy and sparkle of its predecessor...