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First, be sure you watch the end of the film. That means through the credits of the main characters in color and through the black & white credits with the Bride driving and through the long scroll of rolling credits. Even when you get to the film's rating it is not yet time to go, so just sit there until the screen goes bright white. Remember, you were warned.
Second, for everybody who thinks that on the basis of "Kill Bill, Volume 1" that they know what is going to happen in "Kill Bill, Volume 2," be ready to be surprised. I made a point of watching the Bride (Uma Thurman) check Vernita Green (Vivica A. Fox) and O-Ren Ishii (Lucy Liu) off of her people to kill list before I headed out to theater to see how the saga ended, so I thought I was perfectly in the narrative flow. However, Quentin Tarantino has set up his audience just to play with their minds, which, of course, is what he was doing from the start and at the climax of this film I was not at all sure who, if anyone, was going to come out alive (especially since I was suddenly thinking about the tragic end of "Lone Wolf and Cub").
The caveat when Mirimax decided to split this four-hour revenge film into two volumes was that those who sensed a lack of character development and motivation in Volume 1 would be appeased by what was put forth in Volume 2, and this is indeed the case. We finally get to go back and see a couple of pivotal scenes set before the "beginning" of the film's opening, with not only the massacre at the Two Pines wedding chapel but a training sequence in which the Bride studies with the great Pai Mei (Chia Hui Liu), who will inspire many men to grow long flowing white beards that they can whip around dramatically as a punctuation to everything they say. The net result is that character is more important than killing in the last half of the film, which makes sense because it would really be hard for the Bride to slice and dice more opponents than she did at the House of Blue Leaves.
There are a lot of oppositions between the two halves of this film. The beautiful setting of the duel between the Bride and O-ren in the gentle falling snow is countered by the showdown with Budd (Michael Madsen) in the harsh sunlight of his trailer in the desert. Having devoted an entire chapter to Hattori Hanzo creating his most perfect sword for the Bride, it is amazing how hard it is to get the sword out of its scabbard in this one. Volume 1 was a feast for the eyes, but in Volume 2 Tarantino's dialogue becomes more prominent, although not quite up to the level of "Pulp Fiction." But the dialogue is important because before we get around to the titular business of this film, the Bride and Bill have got to have themselves a conversation. Sound also matters more in this film: there is one sequence that is effectively done in the dark.
I am barely acquainted with the genre of Hong Kong films that Tarantino was apparently weaned on, so everything is fairly new to me and smacks more of homage than parody, which is not doubt the director's intent. I probably will not go out and check out some of the films that inspired Tarantino to do "Kill Bill," because they will undoubtedly pale in comparison to the slicked up version that he is serving for our American palates. All things considered, I have a slight preference for Volume 1, which runs counter to the prevailing sentiments, but I am still working out how the two parts fit together. The key thing is that they do, without Volume 2 being simply more of the same. There is something to be said for Tarantino pulling out all the stops just to have fun.
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on 17 July 2004
I saw this film only a few hours after seeing Kill Bill Vol. 1 for the first time. Wow what can I say to do it justice, the cast all give spectacular performances particularly Michael Madsen as 'Budd' and David Carradine as 'Bill' both give supremely moody and hauntingly twisted performances.
A lot of noise was made at the level of violence portrayed in Vol.1 (my personal opinion was that it was very well put together, and totally warranted as it gave the film a spine to work around.) Vol.2 although retaining the brutality of the first film loses the relentlessness in favor of more expertly written dialogue which fleshes out the story without losing the sense of mysteriousness the first film had.
Tarantinos supreme grip on the art of cinematography is as abundant as ever. Special mention has to go to the fantastic master 'Pai Mei' and Tarantinos hilarious direction of the camera on him throughout his scene, Tarantino effortlessly parodies old samurai films to great comedy effect without diminishing any scenes feel of importance.
Daryl Hannah also gives a gives great performances as the truly treacherous 'Elle Driver'. The action although scaled back is no less brilliant with several awesome one on ones. All in all when both the films are put together it is a truly brilliant look at human emotions especially courage and above all the need for revenge through retribution, and when written and directed by a true cinema great like Tarantino its like turning everything up to 11. Simply Awesome.
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on 12 July 2004
Quentin Tarantino's outstanding Kill Bill epic finally comes to an end, as she comes face to face with Bill. After crossing Vernita and Oren's names of her hit list, she is finally ready to go ahead and get the final three: Bud, Elle Driver and the one and only...Bill.
The second instalment of the phenomenal Kill Bill, is not better than part 1, but just as good. The two films are totally differente from one another, volume 1 is more oriental, japanese samurai style, with lots of colour and style, whereas vol.2 is more weastern and the picture is darker and less stylised. This also has much more spectacular dialogue and much more story, telling you more so you understand her motives for revenge. And if you were not a great fan of vol.1 (Which is basically impossible!) watch vol.2 and you will find yourself appreciating vol.1 much more than you think.
This film is not perfect, neither was vol.1, because yes the dialogue is great, but when bill and the bride are face to face, his lines do tend to drag on quite a bit, making the veiwers a tiny bit bored, but watching David Carradine from Kung-fu fame years ago he keeps you interested, that is if you grew up watching his t.v. series.
The acting is startingly good. Uma Thurman does an amazing job as the rampaging Bride, and Daryl Hannah makes an unbelievable come back (That Quentin also did for John Travolta in Pulp Fiction) as the vile, spiteful, evil ex-rival Elle Driver. Bud (Micheal Madson, Mr. Blonde in Resevoir Dogs) is just as good as the trailer trash brother of Bill, and David Carradine is equally as good as the rest of the cast. Oh, and see if you can spot Samuel L. Jackson's (Jackie Brown, Pulp Fiction)cameo as the Orchestra player at the wedding chapel. This is a tremendous film, both are for a fact. And there is rumour that when this is out to buy on DVD there will be a special edition of both films, together on a disc, for four hours of uncut Kill Bill footage! Which is something definetaly worth the wait.
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on 29 July 2009
With less emphasis on balletic fight scenes and strong imagery, the second segment of Quentin Tarantino's revenge epic remains crammed with memorable moments whilst filling in more of the back story and continuing to pay homage to Kung-Fu classics and a range of other genres.

Without giving anything away for those who've yet to see the movie, the best scene has to be QT's glorious riff on Evil Dead, although this is almost rivalled by the inspired - for those of a certain age - Monkey-esque scene, where the Bride is schooled in martial arts by the venerable sage Pai Mei whose eyebrows seem to have a life of their own and whose presence lightens the mood of the film considerably, for a while at least.

We get to see the eponymous Bill at last, and discover the exact nature of his relationship with Uma Thurman's bride, whilst 80s film staple Daryl Hannah is brilliantly cast as a one-eyed assassin, who along with Michael Madsen's gone-to-seed hitman (and Bill's brother), tries to kill the vengeful bride before she gets to them.

Slick, fun, and occasionally macabre, Kill Bill Vol. 2 complements the first film nicely and in its own right stands as a classy piece of cinema.
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on 23 April 2016
Fabulous follow up to the first film, which follows and concludes the story of The Bride, played by Uma Thurman.

Very original story, lots of blood and excellent action scenes.

This is one of my favourite all time films.
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on 16 June 2014
Like all blu-rays when compared to watching the DVD version or an old video one watching this film is a clearer, more detailed experience and in many cases it's like looking at the film for the first time as the film stock used to transfer to Blu-Ray is usually "worked on" first to get as good a copy as possible. My taste in films may not be the same as yours so if you want to know about this film I suggest that you use the internet to find 2 or 3 reviews by experienced film reviewers and make your judgment whether or not to buy this film. I have watched over 640 films in my life and I rate this one 9/10.
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on 24 July 2006
Kill Bill vol 1 was a spectacular film. So creating a worthy sequel was no going to be an easy job. However I think they have done a really good job of it.

I do not think that it is as good as vol 1. It has less action and the action is not as perfectly choreographed as in vol 1. This does not mean that it is not good however. The action here in my opinion is far better than what you will find in most martial arts films. One other thing that is missing from this volume is the perfet blending of the soundtrack. It is not as good as the first one.

Despite the above details this is a very watchable film. In fact many people have stated that they prefer it to vol 1 as it exposes the plot that has led to Thurman's bloody quest for vengeance. Thurman as in the first film is superb and Tarrantino's directing brings out the best in her. In my opinion one of the highlights of the film is the appearence of Carradine's Bill. The film somehow avoids all known cliche's and this is especially evident in the final showdown.

This film in my opinion is not as good as the first one. However it still is a masterpiece of this genre of flim. So my advice to anyone is that both films are well worth purchasing.
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on 27 December 2012
Excellent sequel to K.B. Vol. 1. Not quite the volume of blood-letting as in Volume 1, but you get to find out how Beatrix Kiddo became the highly effective assassin she is. The sexy and very attractive Uma Thurman makes the admittedly fantastic storyline watchable, as do the othe characters, especially David Carradine in the role of the ultimate villain Bill.

The DVD arrived promptly and securely packaged. I recommend this seller as reliable.
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on 22 August 2009
KILL BILL VOLUME 2 - 1080p - 16x9 - 2.40:1
Audio: Dolby Digital 5.1: English, German, Spanish (Castilian), Italian.
DTS 5.1: Italian, German, Spanish (Castilian)
PCM 5.1: English
Subtitles: English, English for the hearing impaired, Italian, German, Spanish (Castilian).
Features: The Making of Kill Bill Vol.2, "Damoe" Deleted Scene, "Chingon" Musical Performance.
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on 7 March 2008
Whereas Reservoir Dogs (1991) and Pulp Fiction (1994) took elements from the French New Wave and American independent cinema of the 1980's to create bold, iconic, character driven films rife with clever dialog, uncompromising violence and subtle allusions to a myriad of varied, textured film references, Kill Bill: Volumes 1 & 2 (2003-2004) take the idea of referencing even further, giving us blatant and literal references that cross from one genre to the next with a complete disregard for whether or not the audience is familiar with the kind of work being quoted. This technique is pushed even further in the subsequent Death Proof (2007), which really does require an audience to be familiar with its subject in order to get the most out of the style, set-up and intent. Here, all pretentions to the cinema of the French New Wave are dropped, as well as the more adult-orientated flavour of the previous Jackie Brown (1997), which was perhaps more in keeping with the aging spirit of the blacksploitation sub-genre of films from which it drew a superficial influence.

Instead, Kill Bil finds director Quentin Tarantino shifting his focus to Asian cinema and referencing sources as disparate as Kung-Fu (1972), Lone Wolf and Cub (1972), Lady Snowblood (1973), The Street Fighter (1974), Shogun Assassin (1980) and Ichi the Killer (2001), as well as taking direct influence from the Shaw Brothers studio productions of the 1960's and filmmakers like Kinji Fukasaku and Seijun Suzuki. Alongside these visual and thematic reference points we also have a continual reliance on juxtaposing ideas and iconography taken from spaghetti westerns, blacksploitation pictures, Chinese "wuxia" and kung fu movies, Japanese Manga and Anime, hip-hop, American exploitation and revenge cinema, and François Truffaut's The Bride Wore Black (1968). These influences are all combined, sometimes obviously and sometimes with more subtlety, but all used with flair, imagination and intelligence to create the right kind of cinematic environment for this purposely elaborate, over-the-top, comic-book-style tale of roaring rampage and revenge to play out against.

As the film is split into two halves (for commercial reasons, as opposed to artistic; but regardless, tying in with the literary use of voice-over, chapter-heading, an unreliable narrator, etc) there will always be the question of how to critique the film. Do we view them as two separate films that should each deliver on the characteristics that we think cinema should pertain to, or do we view this as one long film; a continuation of a single character and theme over the course of two very different though ultimately linked feature films? If we take the former approach, then Volume 2 (2004) is the film that will probably take longer to appreciate on an immediate level, concerning itself more with scenes of character development and that typically unique structuring of dialog that Tarantino does so well. There are a couple of prolonged fight scenes, but nothing approaching the balletic, visually rich and heavily choreographed action of Volume 1; with Tarantino cleverly cutting away from the actual massacre at Two Pines so that the brief snippets from the first film and the few moments that depict the punishing aftermath become even more clouded in mystery, as well as giving us a final "battle" that works on an emotional level, as opposed to the physical.

The film gives us much more insight into the relationship between "The Bride" and Bill, as well as further fleshing out the background of the Deadly Viper Assassination Squad. This gives us much more in the way of context when we go back to re-experience the previous instalment in an attempt to restructure the chronology. As with the first film we still have the stylistic elements of over the top martial arts choreography juxtaposed against scenes of more brutal, hard-hitting violence, obvious miniature work that almost points to the original Godzilla films, retro use of rear-screen projection (much like Pulp Fiction), allusions to films as disparate as Twisted Nerve (1968), Hitchcock, Brian De Palma's elaborate use of split-screen, the production design from Gate of Flesh (1964) and Sex and Fury (1974), etc; however here, the references are used for the purposes of drama as opposed to opulent spectacle. Though the performances, plotting and the emotional impact of that grand, unexpected final are all incredible well handled, the overall effect could perhaps be wrongly misinterpreted as boring or uneventful, simply because of the bold contrast to the over-the-top violence and technical virtuosity presented in the high-octane thrills of Volume 1 (2003).

With this in mind, it would seem more appropriate to view the films as one single film; taking into account both the bursts of colour and energy presented in Volume 1 and the slower, more character-driven approach of Volume 2 to really get the most out of the incredible journey that this larger than life character undertakes. It also allows us to better appreciate the extraordinary performance from Uma Thurman in the central role, who here gives one of the best performances of her career; instilling "The Bride" with a sense of honour and purpose that makes her violence and bloodshed all the more understandable. Kill Bill: Volume 1 doesn't quite scale the dizzying heights of Tarantino's first three films; lacking the intuitive style, unique dialog and intricate plotting - but it does represent a new phase of his career; one that pushes cinematic reference even further to create a visual tapestry of self-aware cinema that appeals to learned cineastes preoccupied with technique, as well as offering a bold story, memorable characters and a great sense of entertainment.
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