![]() ![]() Apart from that the first one was ludicrously violent, and I do believe there is a point where too much blood is liable to be counted as a mark against a film. The first one was still quite good, I don't usually like anime but I thought that anime scene was a nice touch. When Uma Thurman goes to find Bill and her daughter is there playing with fake guns, that was the most sentimental plot twist Tarantino could have possibly incorporated. To be honest I think I liked the second one better than the first. In fact, taken as one movie Kill Bill is probably my favorite Tarantino film. 2 is also completely brilliant, and I don't think I'd ever watch just one without the other. ![]() I think Tarantino has a long list of all the people he's ever thought was cool, and his entire career as a filmmaker is essentially an excuse to meet these people and cast them in movies so other people can see how cool they are. Jun Kunimura, Daryl Hannah, Gordon Liu, all cool. and most of Carradine's role), but everyone involved in this movie is awesome. QT is one of the few directors left that has the talent and the willingness to pull this sort of thing off, and that makes Vol. It's a throwback to my favorite period of Japanese filmmaking the late 60s into the 70s, when legitimately talented filmmakers like Seijun Suzuki, Koji Wakamatsu, Norifumi Suzuki, and Kinji Misumi decided not to spend their time making period epics and deeply metaphorical introspective dramas, but rather mad-ass exploitation movies that mixed extreme violence and softcore pornography. Plus it's all set to The 5.6.7.8.'s, how cool is that?ΔΆ. Probably the most audacious and logistically complex thing QT's ever shot. The 2 minute tracking shot in the house of blue leaves scene that follows The Bride through the whole building, turns around to follow Charlie Brown (who, oddly, is played by the dude who wrote Ichi the killer) back to the top floor, and then switches off to Sophie Fatale to go back to the bathroom where Thurman is changing suits. ![]()
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