I say "creepy" because Untraceable’s theory could actually be a reality. The possibility of a tech-savvy psycho setting up a Web site that displays graphic murders could happen with the fate of each of the tormented captives left in the hands of the public: The more hits the site gets the faster the victims die--and in the case of Untraceable die in very gruesome ways. Of course Untraceable also gives us a peek at the good guys--the FBI division that is dedicated to investigating and prosecuting cybercriminals. Special Agent Jennifer Marsh (Diane Lane) is one such Internet expert who along with her co-worker (Colin Hanks) is stymied by KillWithMe.com’s untraceablity. But soon the movie turns predictable as the cat-and-mouse game gets personal and Marsh must race against the clock to stop the madman. Lane has certainly looked better in her past movies. For obvious effect they’ve made Agent Marsh rather worn-down with dark circles under her eyes and very little makeup as she sits in front of the computer hunting the bad guys all night on the late shift. The fact that she’s also a widow having lost her cop husband to the job and caregiver to her young daughter doesn’t help the woman get anymore rest. Then when the crap starts hitting the fan and people close to Marsh get hurt the actress really shows the pain on her already haggard face. Marsh even admits “I do a lot of things well but I don’t lose people well.” It’s a standard tough-FBI-agent role and Lane is very capable at it. Supporting her is Hanks (Orange County) as the resident comic relief (what little of it there is) as well as Billy Burke (Fracture) the local cop trying to help Marsh catch the psycho Internet killer. As for the killer himself the actor who portrays him (and I won’t give it away) is very effective in the role. There are a couple of other things Untraceable has going for it besides the chilling premise: director Gregory Hoblit who knows his way around a crime thriller having directed gems such as Primal Fear and Fracture and the dank Portland Oregon locale. Hoblit creates just the right amount of tension and dread as the clock ticks down and the race nears its end but something about an overcast rainy environ just lends itself to more doom and gloom doesn’t it? Of course there are also the torture scenes which add a certain level of Hostel-like horror. What Untraceable lacks is a compelling narrative. The bevy of writers involved (never the best of signs) tend to throw in too many conventional thriller plot points--like the red herrings on who the killer is before he’s revealed and explaining why the killer is doing what he’s doing. All these things dilute the film’s initial potential. Still let’s just hope this doesn’t spawn real-life copycats.
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.