I recorded Kill Bill, both volumes, on my DVR *that's like Tivo, for those that don't know* months ago, intending to watch them in short order. Somehow, me being me, I didn't get around to it in anything resembling short order. Well, the other night, as I was curled up on the couch fuming at my husband *who was dead to the world, having fallen asleep DURING an argument, of all damned things*, I suddenly remembered that the movies were waiting for me. Sure, it was already past 11:00 at night, and watching them, back to back, meant a) a lack of sleep, and b) I'd be no fun at all to be around the next day, due to the aforementioned a). But what the hell. If I'm not happy, why should anyone else be?
First, let me say that I was fully prepared to not like the films. I'd recorded them because I like Uma Thurman, in general, and was interested to see how she did in another Tarantino movie. I had NOT recorded them out of a love of things Tarantino. Tarantino occasionally appeals to me, but overall I find his love of all things bloody and violent a bit off putting. That's just me. Not to mention there's the way he jumps a time line back and forth within a film... makes me a wee bit annoyed. Like I'd enjoy sticking a spork in his eye. But I digress. Going into the movie with certainly no high expectations, plus the warnings I'd already received from friends about the amount of gore involved, it would be hard to be disappointed.
The opening scene of Kill Bill was startling, to put it mildly. There we are, staring at a close up of Uma Thurman's battered face. Covered in blood and lacerations and all manner of ugliness, she's obviously in shock, panting for breath while her eyes dart around, unable to believe that this, whatever it is, has happened to her. It's one hell of a way to grab the viewer's attention. Now, seeing as how I've slept since I watched the movie a week or two ago, I can't sit here and map things out for you scene by scene in the order they appeared... a) I have the memory of a potato, and b) Tarantino hops around so much on timelines that if you can keep your bearings when recounting the movie, you deserve a cookie. No cookie for me. I'll just summarize the gist of it. Anyone who doesn't like it is free to try and do a better job on their own website.
Uma is out to wreak havoc on a scale heretofore known by neither man nor beast. Why, one may ask? Well, apparently, as we learn throughout the movie, she was the leader of a team of assassins. Named, in a very Tarantino fashion, the 'Deadly Viper Assassination Squad', their job is to kill... for Bill. Bill, whom we don't see in Volume 1, although we do hear him speak, had a romance with Uma Thurman's character, code named 'Black Mamba' *and whose real name we don't know until the end of Volume 2* until she disappeared. The opening scene in the movie? Well, that was what happened when Bill found poor Uma, about six months, if memory serves, after her disappearance. Bill was not a happy camper. Where had he found her? At a wedding rehearsal. HER wedding rehearsal. In her wedding dress, no less. Her MATERNITY wedding dress. Yes, Uma was heavily pregnant. With? Yes, of course... Bill's child, unbeknownst to Bill at the time. Bill was a wee bit cranky about being deserted in the first place, but to find her both pregnant and marrying another man? INCONCEIVABLE! So, being the swell kind of guy that he is, he brings in the other members of the Deadly Viper Assassination Squad to turn her ass into a very messy memory. This is the kind of man you break up with via FedEx, hopefully after serious face altering plastic surgery and changing your identity to become a Llama shepherd in Peru.
So, they kill her. Or so they think. Wrong, of course. She's not dead, but she is in a coma. Don't even get me started on the coma thing. Anyway. I should remind you here that I'm telling this as an actual story, NOT as it happened in the movie. In the movie, you're jerked around from her coma to her wedding rehearsal to her driving down the road in a truck that reads 'Pussy Wagon' on the back, back to the rehearsal, then to a flashback of her ninja training or some shit... trust me, my way of telling it is more effective for review purposes. So, she comes out of the coma. How does she come out of the coma? She comes out of a coma as this utter slimebag is taking money from a redneck pervo to let him fuck her while she's comatose and no one in the hospital is around to stop him. He, the slimebag appropriately named 'Buck', is either a nurse or orderly, I suppose, and his job is to 'tend' *snorts* the comatose patients. His idea of tending is to pimp out their unconscious bodies when not making use of them himself. Well, Uma's character, known simply as 'The Bride' through most of the movie, wakes up in the middle of all this and dispatches the redneck pervo in question in a very bloody fashion. Dragging her unresponsive body across the floor using only her arms, she is trying to make her way out of the room when Buck shows up. Buck's day just gets worse after that. She's a trifle angry. Seeing as how she's now had a memory surface of the ill fated Buck standing at the foot of her bed, while she was comatose, saying 'My name is Buck, and I'm here to FUCK!', one can hardly blame her. More dragging of the unresponsive body, then on to a wheelchair. Having stolen Buck's keys, she's now must figure out which vehicle in the massive parking lot is his. Any guesses? Those of you who said 'Pussy Wagon' get one of those cookies I was talking about earlier. Just ignore the cat hair.
So now we're off and running. Well, not much running, since she's still got to make her body do what she wants it to and all, but you get the picture. She's now a woman on a mission. She wants the heads of the four members of the DVAS and she wants... yes, you guessed it, to KILL BILL. Ergo, the movie title. See how that all comes together?
I will say that a significant part of the violence in the movie is actually watchable because it's done in a such a cartoonish way. People getting an arm whacked off and the blood just geysering out while the person, who couldn't have held that much blood in them to begin with unless they were the size of Godzilla, whines and moans on the floor... FOR HALF AN HOUR. I mean, it's just so over the top and outside reality that it renders it watchable, not like Hamburger Hill or Saving Private Ryan, for God's sake. There are, of course, a few scenes that are NOT cartoonish and are not for the squeamish, but they're not prevalent. The acting is, surprisingly, top notch. I was delighted with Uma Thurman's portrayal of a person who is both the deadliest killer in the world and yet still a woman torn apart by the loss of her child. She was in a coma for four years, and when she woke up, obviously the child she had been carrying was no longer with her. The expression of her grief was such that I actually felt it with her, and I'm not the most empathetic person in the world. Lucy Liu, whom I don't usually have much use for, did an excellent job as O-ren Ishii, a.k.a. Cottonmouth, the cold blooded assassin and head of a major Asian crime syndicate who saw her parents murdered before her eyes when she was a child. Michael Madsen, playing 'Budd', a.k.a. Sidewinder, also does very well as Bill's brother, a washed up assassin who lives in squalor rather than take his brother's help or continue in the line of work he lost his taste for. Quentin makes you really want to like Michael Madsen, which is saying something, but then that's a big Tarantino thing, showing character's duality so that you are forced to like the unlikable, or hate the unhatable. It works for him. Anyway. Vivica Fox's character Vernita Green, a.k.a. Copperhead, while useful in giving us a good opening fight scene and setting up the rest of the movie, was rather... empty, really, in my opinion. They tried to make her multi-faceted by showing her at home with her daughter one minute, kung-fu fighting the next, but for me this character had little to no depth, unlike the others. Maybe I'll feel differently when I watch it a second time. *shrugs* And here's the best part... the fourth assassin is a blonde femme fatale type named Elle Driver, a.k.a. California Mountain Snake. I saw this bitch in Volume 1, and she was, in a bigger way, in Volume 2. I had NO IDEA who the actress was until I WATCHED THE CREDITS. That's fucking amazing to me. Daryl goddamned Hannah! I would NEVER have recognized her, blonde hair notwithstanding. She looks TOTALLY different, and her voice, which is usually so distinctive, didn't give her away, either. I literally rewound the movie to her final scenes and watched them REPEATEDLY searching for signs of 'Roxanne', and only found a moment or two where, if I strained an eyeball, I could find a resemblance. Remember 'Splash'? Yeah, not even close. Still blows me away. She did a terrific job with her character, making her a ballbuster who respects nothing so much as a fellow warrior. Then, last but not least, we've got Bill, a.k.a. The Snake Charmer *oy*... the Dick Clark of the Kung Fu world. Is the man EVER going to die? Anyway. He was amazing in the role, absolutely perfect. Dry and witty, wise yet callous toward human life, tender and merciless at once, he was a man of dichotomies, as were most of the characters. You embraced The Bride and her mission, while still being forced to either like, respect, or feel sympathy for certain aspects of the villains personalities/lives. Again, something I'm used to seeing with Tarantino.
Well, this was a seriously LOOOOOOOOOOOONG synopsis/review, but it's a whole lot of movie, so I'm forgiven. I enjoyed both of them thoroughly, Volumes 1 and 2, and would recommend them to both watch and own. Which is saying something, since I almost never like a movie enough to buy the damned thing. There's some really good dialogue, although I'd be forced to say that Pulp Fiction still rules in the quotable dialogue department. The acting in Kill Bill was underrated among the moviegoing elite, and I for one think that's a shame. Overall this was a cast that delivered, and delivered well.
I'll give this one five cookies.
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