Check out our exclusive clip from tonight's episode of Strike Back, and then watch it yourself at 10 p.m. ET on Cinemax.
On tonight's episode, Section 20 negotiates the release of five European Union officials taken hostage by Kosovoan weapons, drugs and human trafficker Hasani (Mel Raido), intending to exchange the hostages for Hasani’s cousin Rama (Zsolt Nag), who is in a Vienna prison for attacks on U.S. and British targets. One of the hostages is undercover MI-6 terror expert John Allen (Adrian Rawlins), identified by Crawford (Iain Glen) as Latif’s (Jimi Mistry) inside man. When the exchange in rural Kosovo doesn’t go as planned, Stonebridge (Philip Winchester) and Scott (Sullivan Stapleton) are stranded with the hostages and surrounded by Hasani’s forces. Guest stars include David Haig, Annabelle Wallis and Gillian Hanna.
Kill Bill Vol. 2 picks up where the first installment left off with The Bride (Uma Thurman) delivering a "refresh your memory" monologue as she drives to her next victim Budd (aka Sidewinder). These shots are cut through with flashbacks that tell the whole story of the "Massacre at Two Pines " and it's instant-gratification city. First we meet the wedding party the reverend and his wife and Rufus the piano player (Samuel L. Jackson in a cameo role). But most importantly we meet the elusive Bill (David Carradine) for the first time. (He appeared in the first film only in voiceover.) You know from the start that this movie isn't going to rely on the same suspense devices the first film did and you soon learn it doesn't rely as heavily on the blood and gore that so distinguished the first installment. The creatively shot and intelligently constructed opening scenes make Tarantino's epic of evil gripping right from the start in its own right. Amazingly considering the way she ripped her enemies apart in the first film The Bride doesn't always get her man in this one; Budd (Michael Madsen) actually gets the best of the Bride--at least temporarily--and entombs her in "The Lonely Grave of Paula Schultz " one of the most horrifying scenes of burial alive ever. Flash back to "The Cruel Tutelage" of kung-fu master Pei Mei (Gordon Liu) who taught The Bride how to break through wood planks with her fists from three inches away (which comes in handy now) and the Five Point Palm Exploding Heart technique (which will come in handy later). Freeing herself from her makeshift grave to do battle with her victims once more the Bride dispenses with both Budd and Elle Driver (Daryl Hannah) who's conveniently appeared on the scene and it's on to the greatest battle of them all--it's time to Kill Bill
Thurman proves her calm cool collected mettle once more as The Bride (aka Beatrix Kiddo aka Black Mamba) plucking out eyeballs bloodying her fists punching wood exploding hearts and the like. But we also see her completely vulnerable during flashbacks to the time she spent in a coma after the attack (some gnarly stuff happens in the hospital but no spoilers forthcoming from this reviewer). And there's a softer side to Black Mamba when she's awake too. In another flashback we see The Bride on her last assignment before she quit the assassination business to become a wife and mom--the stick in her EPT has just turned blue when a rival assassin comes knocking through the door and it's a poignant moment (with a Tarantino edge) as she tries to protect her unborn child. Carradine's Bill is somehow less menacing than one might have expected but there's enough creepiness in the character for an audience to imagine what a real hard case he must have been in his glory days. Hannah enjoys a splendid comeback role as The Bride's fellow assassin and she's regal in her adherence to the warrior code they share. Madsen wears Sidewinder's cowboy hat and slouchy jeans like he was born to them and swills whisky like a ranch hand yet he still captures the wistfulness of the once-great fighter if somewhat ironically.
Fans of Tarantino's Pulp Fiction can start rejoicing. He's finally made a film that lives up to the standard he set back in 1990. All the influences on the first film are still very much in evidence here--Asian martial arts films in particular--but each chapter in this installment as in the previous has its own look creating a mix n' match patchwork feel that somehow manages to work in spite of itself. If there's one criticism it's that it indulges a bit in its own cleverness and that makes it a little too long. But Vol. 2 shouldn't see the big criticisms aimed at Vol. 1's dark gory violence; instead Vol. 2 finds kinship with its creator's first big hit in its story and characters. Sure it's overblown; sure everyone is evil on some level. That's the fun of it. And every now and then a little compassion comes through or a little humor and it captures the ridiculousness of human nastiness whether it's the petty arguments you had all day at work or all the slaughter that's been perpetrated with a Hattori Hanzo sword.
As dean of a small college Coleman Silk (Anthony Hopkins) has made a nice life for himself--until a false accusation of racism ruins his career and he loses his wife to a brain aneurysm. Suddenly Coleman has nothing--until he embarks on an intensely sexual relationship with Faunia Farley (Nicole Kidman) a local woman with an abusive ex-husband Lester (Ed Harris) who won't leave her alone. The intensity of Coleman's love for Faunia leads him to reveal his long-held secret: He has been passing himself off as Jewish and white for most of his adult life but in reality he is a light-skinned African-American. From there a series of flashbacks to the 1940s introduce us to a younger love-struck Coleman (Wentworth Miller) and reveal the events that led him to his fateful decision. Somehow Coleman's deep dark secret isn't as shocking as it's probably meant to be but the relationship between Faunia and Coleman is--especially when it slips into the danger zone with Lester breathing down their necks.
Wentworth Miller who makes his film debut as the younger Coleman does an amazing job with his role establishing Coleman's quiet yet fierce determination to live a life free of intolerance. And as ever Hopkins is the consummate professional with flashes of intense passion and brilliance in his steely eyes. One does have to get over the fact that a Welsh actor has been cast as an elderly light-skinned African-American but if Hopkins can give nuance to a declaration of how Viagra has changed his character's life (ick) he can pull off the race thing easily enough. Kidman as the dour Faunia also has some stunning moments easily sinking to the depressive depths required of her character--not surprising considering she won the Oscar doing the same thing in The Hours. What really makes you clench your teeth though is when the two of them get together on screen--in the biblical sense. These Oscar winners are so sorely miscast as tortured lovebirds that their sexual moments make you squirm in your seat. It's not the age difference; there's simply no spark between them.
"We leave a stain a trail and imprint " Philip Roth writes in his novel the third in a trilogy on postwar America. "It's the only way to be here." The author goes on to explore myriad themes around this main premise including how we leave our marks how our decisions have consequences and how people can find one another under the direst circumstances. Unfortunately these big ideas get lost in translation on the big screen and the film suffers from adaptation blues. Director Robert Benton and screenwriter Nicholas Meyer gives Roth's ideas voice only through Nathan Zuckerman (Gary Sinise) the reclusive author Coleman asks to write his life story and even that artistic character talks more about how sex is clouding Coleman's judgment than about his own life or ideology. Ultimately Meyer focuses his script too heavily on the guarded Coleman leaving the other characters too little developed. Why has Nathan secluded himself away from the world? What haunts him? Sinise does what he can with the character but there's too little background. The same goes for Faunia. Although she describes in one monologue after another the horrors of her life--she was abused as a girl and lost her two children in a terrible fire--Faunia's hardships seem distant and it's hard to connect with her character. Only the wounded Lester a Vietnam veteran seems made of real emotions and desires--he's filled with hatred and passion--and if he makes only a brief appearance in the film he certainly leaves a mark.