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COPYRIGHT 2004 All rights reserved. Reproduced by permission of The Condé Nast Publications Inc.
Quentin Tarantino's "Kill Bill Vol. 2" is a shapeless mess, but at least it's not as monotonous as "Kill Bill Vol. 1." It has some landscape and some odd characters, whereas the earlier movie consisted mostly of sliced-cranium combat scenes and lacquered-glitz interiors and mock emotions like "anger" and "grief" that linked the fight episodes the way a thin string might hold a set of glittering flea-market jewels. "Kill Bill Vol. 1" was sequenced, but it wasn't really plotted; it had faces, bodies, and limbs (often severed), but it didn't have characters; it had spasmodic action but nothing approaching dramatic life. The heroine, Beatrix Kiddo (Uma Thurman), known as "the Bride," attempted to leave a group of hired assassins headed by Bill (David Carradine), whose child she was carrying, and marry another man. But Bill showed up at her wedding rehearsal with the rest of the assassins, killed her groom and her friends, and left her for dead, too. Snapping out of a four-year coma in which she was repeatedly raped, the Bride then began to knock off the members of the group, who were known as the Deadly Viper Assassination Squad, or divas--most of them terrifically agile young women who killed with sword and karate chop. None of this made much sense, nor was it supposed to; you were not meant to ask whom the Vipers eliminated, or who paid them, or why one Viper hung...
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