The Bride unwaveringly continues on her roaring rampage of revenge against the band of assassins who had tried to kill her and her unborn child. She visits each of her former associates one-by-one, checking off the victims on her Death List Five until there’s nothing left to do … but kill Bill.
Credits: TheMovieDb.
Film Cast:
- Beatrix “The Bride” Kiddo: Uma Thurman
- Bill: David Carradine
- Elle Driver: Daryl Hannah
- Budd: Michael Madsen
- Pai Mei: Gordon Liu Chia-Hui
- Esteban Vihaio: Michael Parks
- B.B. Kiddo: Perla Haney-Jardine
- Larry Gomez: Larry Bishop
- Rufus: Samuel L. Jackson
- O-Ren Ishii: Lucy Liu
- Vernita Green: Vivica A. Fox
- Sofie Fatale: Julie Dreyfus
- Tommy Plympton: Christopher Allen Nelson
- Karen Kim: Helen Kim
- Rocket: Laura Cayouette
- Boss Tanaka: Jun Kunimura
- Boss Honda: Goro Daimon
- Boss Koji / Crazy 88: Kazuki Kitamura
- Boss Ozawah: Akaji Maro
- Boss Benta: Shun Sugata
- The 5, 6, 7, 8’s: Sachiko Fujii
- Charlie Brown: Sakichi Satō
- Crazy 88: Yoji Tanaka
- Crazy 88: Sō Yamanaka
- Gogo: Chiaki Kuriyama
- Clarita: Claire Smithies
- Crazy 88: Issey Takahashi
- Bartender: Sid Haig
- Reverend Harmony: Bo Svenson
- Ernie: Clark Middleton
- Buck: Michael Bowen
- Mrs. Harmony: Jeannie Epper
Film Crew:
- Original Music Composer: Robert Rodriguez
- Characters: Quentin Tarantino
- Producer: Lawrence Bender
- Characters: Uma Thurman
- Director of Photography: Robert Richardson
- Editor: Sally Menke
- Fight Choreographer: Shin’ichi Chiba
- Associate Producer: Koko Maeda
- Casting: Johanna Ray
- Supervising Sound Editor: Harry Cohen
- Stunt Double: Zoë Bell
- Executive Producer: Bob Weinstein
- Executive Producer: Harvey Weinstein
- Production Design: David Wasco
- Supervising Sound Editor: Scott Martin Gershin
- Production Design: Yohei Taneda
- Additional Music: RZA
- Sound Editor: Bob Beher
- Set Decoration: Sandy Reynolds-Wasco
- Sound Designer: Dino Dimuro
- Special Effects Coordinator: John Hartigan
- Hairstylist: Ilona Herman
- Visual Effects Supervisor: Frankie Chung
- Property Master: Steve Joyner
- Executive Producer: Erica Steinberg
- Costume Design: Catherine Marie Thomas
- Executive Producer: E. Bennett Walsh
- Production Supervisor: Ricardo Del Río
- First Assistant Editor: Joan Sobel
- Art Direction: Daniel Bradford
- Assistant Editor: Peggy Eghbalian
- Assistant Art Director: Christopher Tandon
- Second Assistant Camera: Jasmine Yuen Carrucan
- Foley Mixer: Nerses Gezalyan
- Foley Artist: James Moriana
- Foley Artist: Jeffrey Wilhoit
- Production Design: Cao Juiping
- Gaffer: Ian Kincaid
- Steadicam Operator: Larry McConkey
- Music Producer: Carl Thiel
- Sound Designer: Kerry Ann Carmean
- Post Production Coordinator: Ted Gidlow
- Set Designer: Mary Saisselin
- Makeup Effects: Jake Garber
- Video Assist Operator: Glenn Cannon
- Costume Design: Kumiko Ogawa
- Color Timer: Lee Wimer
- Boom Operator: Tom Hartig
- Dialogue Editor: Frederick H. Stahly
- Dialogue Editor: Michael Hertlein
- Supervising Sound Editor: Wylie Stateman
- Still Photographer: Andrew Cooper
- Set Costumer: Kanani Wolf
- Makeup Department Head: Heba Thorisdottir
- Set Designer: Peter Davidson
- Art Department Coordinator: Gretchen Engel
- Special Effects Coordinator: Corey Pritchett
- Stunt Coordinator: Keith Adams
- Costume Supervisor: Daniel Grant North
- Music Editor: Jay B. Richardson
- Transportation Coordinator: Derek Raser
- Location Manager: Douglas Dresser
- Sculptor: David James
- Executive Assistant: David Greenbaum
- Sound Re-Recording Mixer: Michael Minkler
- ADR Supervisor: Hugh Waddell
- Digital Intermediate Editor: Ron Barr
- Leadman: Brett C. Smith
- ADR Mixer: Greg Steele
- Sound Effects Editor: Hector C. Gika
- Wigmaker: Peter Owen
- Assistant Location Manager: Douglas S. McClintock II
- Rigging Gaffer: John R. Manocchia
- Unit Publicist: Will Casey
- Hair Designer: Kyra Panchenko
- Makeup Artist: Tysuela Hill-Scott
- Assistant Property Master: Edward J. Borasch Jr
- Stunts: James Logan
- Sound Mix Technician: Eddie Bydalek
- Extras Casting Assistant: Gerardo Rene Arellano
- Associate Producer: Dede Nickerson
- Costumer: Jim Hansen
- Key Hair Stylist: Emanuel Millar
- Assistant Production Coordinator: Rachael Lin Gallaghan
- Music Supervisor: Mary Ramos
- Production Sound Mixer: Mark Ulano
- Conductor: Pete Anthony
- Sound Engineer: John Bires
- Greensman: Steve Borgese
- Construction Coordinator: John Stone
- Carpenter: Archie Hankins
- Construction Foreman: Jeff Plauster
- Camera Production Assistant: Jessica Miglio
- Set Production Assistant: Geraldine Brezca
- Transportation Captain: Carlos Ponce de León
- Production Manager: Cornelia Ryan
- Armorer: Vincent Joseph Flaherty
- Assistant Director: William Paul Clark
- Lead Painter: Laurel Pickering
- Standby Painter: Elizabeth Norton
- First Assistant Camera: Jamie Felz
- Key Grip: Herb Ault
- Set Dresser: David Ladish
- Craft Service: Paul Abraham
- Driver: Robert Aaron Brown
- Picture Car Coordinator: Don Feeney
- Sound: Ian Elias
- Post Production Supervisor: Peter Mavromates
- Propmaker: Rome Duval
- Scenic Artist: Jennifer A. Bolitho
- Set Medic: Elida Cerda
- Transportation Co-Captain: Bruce Callahan
- Unit Production Manager: Arturo del Río
- Best Boy Grip: Greg Fausak
- Lighting Technician: Khan Griffith
- Production Coordinator: Jennifer S. Deayton
- Special Effects Supervisor: Jason Gustafson
- Line Producer: Yingchun Fang
- Painter: Manuel Barrera Oliver
- Production Illustrator: Thomas W. Lay Jr.
- Camera Loader: Julie Helton
- Production Controller: Kristina Soderquist
- Security Coordinator: Norberto Nava
- Stand In: Hally Grounds
- Systems Administrators & Support: Ariel Oclarino
- Utility Stunts: Satya Bellord
- Electrician: Edgar Ambriz Espinoza
- Rigging Grip: Jeff Brinker
- Casting Associate: Jessica Vogl
- Scoring Mixer: Alan Meyerson
- Digital Compositors: Christopher Haydostian
- Unit Manager: Víctor Solorio
- Production Secretary: Sue Smith
- Musician: Kevin Connolly
- Extras Casting: Rich King
- Grip: Matthew J. Barden
- Dolly Grip: Antonio V. Garrido
- Fight Choreographer: Rob Moses
- Negative Cutter: Aaron Denenberg
- Ager/Dyer: Michele Flynn
- Second Assistant Director: Dawn Massaro
- Assistant Sound Editor: Mike Hurst
- Second Second Assistant Director: Heather I. Denton
- Digital Intermediate Producer: Stephanie Ito
- Travel Coordinator: Andrew Blau
- Storyboard Artist: Janet Kusnick
- Visual Effects Production Manager: Jaime Norman
- Special Effects Assistant: Keith O. Wilson
- Extras Casting Coordinator: Ernesto Cairo
- First Assistant Accountant: Beverly Jusi
- Generator Operator: Dan Duffy
- Payroll Accountant: Edward Poveda
- Construction Buyer: Ellen C. Troy
- Creative Director: Phill Zagajewski
- Swing: Marcus Epps
- Special Effects Technician: Jack Jennings
- Wardrobe Assistant: Amy Lin
- Music Coordinator: Wendi Morris
- Assistant Accountant: Jerry Carville
- Assistant Craft Service: Alan Schwartz
- Second Assistant Accountant: Sean Carville
- Assistant Makeup Artist: Stephanie A. Fowler
- Art Department Assistant: Perry Strong
- Graphic Designer: Chris Cullen
- Stunt Driver: Cheryl Bermeo
- Location Assistant: Liuba Esperon Otero
- Production Assistant: Jessica James
- Production Driver: Arturo Saldivar
Movie Reviews:
- Wuchak: Tarantino’s amusing super-assassin bizarro world
RELEASED IN 2004 and written/directed by Quentin Tarantino, “Kill Bill Vol. 2” completes the story of 2003’s “Vol. 1” and fills in the holes. Former assassin, The Bride (Uma Thurmon), seeks vengeance after the murder of her fiancé & friends at a wedding rehearsal in El Paso. She takes on formidable thugs Budd (Michael Madsen) and Elle (Daryl Hannah) to finally get to ringleader Bill (David Carradine). Gordon Liu plays master martial artist Pai Mei while Michael Parks is on hand as Esteban Vihaio.
This part of the duology is more dialogue-driven than “Vol. 1,” fleshing-out the characters and answering many questions. Such as: How is The Bride such an unconquerable fighter? How did Elle lose her right eye? Why did Bill conduct the wedding massacre? How does Budd spend his retirement? The problem is that the characters are all cartoony caricatures, and merciless assassins to boot. It’s impossible to give criminal scum “more depth,” at least as far as caring for them goes. Let ’em all kill each other for all I care. Moreover, the story is too shallow to warrant such epic treatment and would’ve been more effective if both films were condensed into a 2.5 hour flick, cutting out the fat.
Still, the movie’s so offbeat that it’s entertaining in the manner of 1996’s “Mojave Moon,” but better. It’s an interesting combo of spaghetti Westerns, 70’s martial arts flicks, Bond-isms and all-around Tarantino quirkiness. But suggesting that the “Kill Bill” flicks are cinematic masterpieces of auteurism is overdoing it. Take, for instance, the ridiculous closing credits, which run well over 12 minutes: The plot and characters are unworthy of such pretentious veneration. If you want masterworks by Tarantino, see “Django Unchained” (2012) and “Pulp Fiction” (1994); or even “Inglourious Basterds” (2009) and “Jackie Brown” (1997).
Still, the movie’s strangely amusing, the cast is good (especially Carradine) and Bill’s Superman analysis is insightful. The Bride’s training with Pai Mei is arguably the best bit.
THE MOVIE RUNS 137 minutes and was shot in Southern California; Beijing, China; and Mexico.
GRADE: B/B- (6.5/10)