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.
After surviving a devastating car accident following her first college party freshman Cassie (Melissa Sagemiller) falls into a coma and steps into a nightmare of otherworldly visitations. Haunted by a grim reaper of a far different kind her only hope is to cling to chance encounters with her lost love Sean (Casey Affleck) and the aid of a mysterious young priest named Father Jude (Luke Wilson). Cassie's malicious friends Matt (Wes Bentley) Annabel (Eliza Dushku) and the morose Raven (Angela Featherstone) seem intent on drawing her to the dark side but the spirit of her soul mate Sean guides her back to the world of the living.
Sagemiller (Get Over It) may be a fine actress but this film--her second full-length feature--isn't the one to prove it. Not that Sagemiller does a poor job but like most dull and stale horror movies the female lead isn't asked to do much other than look frightened and scream--a lot. Affleck (Good Will Hunting) Bentley (American Beauty) and Dushku (Jay and Silent Bob Strike Back) are among the more talented actors of their generation but are completely wasted especially Affleck in his one-dimensional role. Wilson as Father Jude is the only character with an interesting part but unfortunately the good Father's development is stunted and incomplete leaving Wilson little to work with.
Steve Carpenter's first turn as a director leaves much to be desired. Of course Carpenter wrote the formulaic script so why shouldn't he be the one to helm it? One major flaw (and there are plenty to choose from) is that nearly half the movie is shot tight on the characters giving the audience a very myopic view. Even if that was intentional it certainly did nothing to heighten the tension (what little of it there was) in the movie. The flick's tagline "The World of the Dead and the World of the Living... are About to Collide" conveys the message of an epic struggle between the forces of evil and the forces of good--a struggle that never materializes. And the film's final message that love conquers all is the boring hackneyed truism that breaks the cliché camel's back.