Kill Bill

As a whole, the film works very well. David Wasco, Quentin’s production designer offers so many touches that we are accustomed to see in Tarantino’s films. David Carradine as “Bill” is testament to Quentin’s ability to find lost actors and show the world just how great they really are. Following similar cinematic techniques he employed in Natural Born Killers, Richardson not only makes all the locations – China, Japan, Los Angeles, Mexico look amazing, he gives much of the film a surreal and playful look that reminds the viewer that yes, it is just a movie. Michael Madsen’s “Budd” has found redemption from his days as an assassin but cannot alleviate himself of his sworn duties to make sure “The Bride” is dead. Volume II adds much more depth to the revenge theme making it view more three dimensional than our heroine out to kill her would be assailants. The film does work by itself, but there is very little back-story, the characters are less than developed, and the dialogue is sparse. It is filled with sympathetic characters that the audience loves, even the most evil of them all, Bill played flawlessly by David Carradine. It is a splatter-fest, and it is fun. Some other details that worked great were the cinematography by Robert Richardson. nts of these films he devoured as a youngster, put them in a blender, and pour them all over the celluloid, he utilizes them to create thoughtful, well-developed characters that we’ve seen in the past and run, twist, and jerk them through the conduits of his own twisted mind and make them his own. Not to mention Darryl Hannah’s animalistic portrayal of “Elle Driver”.