#423: Kill Bill, Vol. II (2004)

Director: Quentin Tarantino

Cast: Uma Thurman, David Carradine, Michael Madsen & Daryl Hannah

(Contains spoiler from Kill Bill, Vol I ... if you haven't seen that, I don't know what's wrong with you)

The Bride continues her quest for revenge. Having dispatched O-Ren Ishii and Vernita Green, she is set to finish off the rest of the Deadly Viper Assassination Squad: Elle Driver, Budd, and - most importantly - Bill. The twist (as discovered in Vol. I)? She never learned that the child she was holding when she was attacked at the Twin Pines Chapel was still alive.

What sets this film apart from all other 'sequels' is that it in fact is not a sequel. Kill Bill was originally written as one solitary film, but it ended up simply too long. Tarantino did not have the story simply continue through this film. Tarantino has described the two films as the first volume drawing outlines for the characters, but the second volume fills in the lines.

The characters in the story have much more substance in this film. We finally see the tender side of The Bride, as well as an unexpected tenderness in Bill. We also see more of the interactions between Bill, Bud and Elle.

The script is one worth study. The lines aren't written as if they were being told in the real world. They sound more like they are lines being told from a story around a campfire (hopefully voiced by David Carradine). The script - as well as other aspects of the film - gives homage to classics from both Spaghetti Westerns and Kung-Fu flicks. Many of the songs throughout the film are borrowed from Spaghetti Westerns, and many of the characters are drawn directly from classic Kung-Fu films.

The cinematography, like Vol. I, continues to dazzle the audience, but in a completely different way. Leaving the pristine settings of Vernita's house in Pasadena and O-Ren Ishii's Tokyo joint, we find ourselves getting gritty out west, setting kung-fu fights in the confines of a trailer, as well as at the gritty resting place of the unknown character of Paula Schultz.

The film is completely different than its predecessor, but there have never been two films that complement each other so well, leading to sheer awesomeness. If you've never seen these films, I really recommend that you get yourselves on Netflix immediately.

Oh, and read some of the trivia below, there's some pretty cool stuff.

Fun Trivia (Stolen from IMDB):

• The chapter "Yuki's Revenge" was cut from filming to accommodate a new chapter, "Massacre at Two Pines" that details the attack on The Bride. An outline of the chapter was to have Yuki Yubari, Gogo's sister seek vengeance on the Bride for killing her sister, Yuki was to be played by Kou Shibasaki who co-stared with Chiaki Kuriyama (who plays Gogo in Vol.1) in the Japanese movie Batoru rowaiaru (2000).
• The reason that The Bride no longer has the "Pussy Wagon" in Vol. 2 is because in the original script that included the character of Yuki Yubari, Go-Go's sister, Yuki had destroyed it soon after the killing of Vernita Green.
• The character Pai Mei appears in several Shaw Bros Kung Fu films from the 1970s-80s including Hong Wending san po bai lian jiao (1980) (Clan of the White Lotus). Pai Mei means "White Eyebrow". Ironically, Gordon Liu (Chia Hui Liu), who stars as Pai Mei in this film, starred as the protagonist in Clan of the White Lotus and fought Pat Mei/Bak Mei (played by legendary Shaw Brothers studio actor Lo Lieh).
• Quentin Tarantino originally intended to only have Pai Mei's lips speaking Cantonese, while his voice would be in English, imitating a bad dub job. Tarantino was going to provide the voice himself. In the end, Tarantino abandoned this idea and Pai Mei's voice is that of the actor, Chia Hui Liu.
• The Bride never actually says anything to Budd.
• Robert Rodriguez scored this movie for $1. Quentin Tarantino said he would repay him by directing a segment of Rodriguez's project Sin City (2005) for $1.
• Bill's apartment in Mexico is number 101, the same as Neo's in The Matrix (1999). The fights in both films were choreographed by Woo-ping Yuen. In addition, room 101 is a reference to George Orwell's "1984", the room where the thing you fear most resides.
• In the scene where Uma Thurman is being buried alive, the master shot has the pickup's headlights illuminating the graveyard. On the right of the screen, the exhumed body's gnarled hand casts a bunny-shaped shadow on its coffin.

#430: Big Trouble in Little China (1986)

Director: John Carpenter

Cast: Kurt Russell, Dennis Dun, Kim Cattrall, Carter Wong & James Hong

A gamble held in San Francisco's Chinatown doesn't end well for Wang, who owes trucker Jack Burton over $2000. He doesn't have the money on him, but a girl he met and is in love with does. The girl is coming to California today from China - she's the only Chinese girl with green eyes he's ever met. Jack drives Wang to meet her at the airport. At the terminal, a woman catches his eye. Before you know it, some ninja-style gangsters are attacking Jack, kidnapping Wang's love. On the chase, Jack and Wang are caught in a street fight between two Chinese gangs -- whose fight gets interrupted by sorcerers using "Chinese Black Magic". The adventure that ensues just gets crazier and crazier, involving ninjas, myths and monsters, never failing to surprise you.

This movie is AWESOME. From what I gather, people in our generation are pretty much oblivious to this film aside from its title. And there's absolutely no reason why this should be so. It's The Goonies for adults! I kept thinking to myself, I usually go for Kung Fu movies when I'm home sick - but this would be the absolute perfect flick for a day in. It has everything, from kung fu to comedy to everything else in between.

John Carpenter has directed two films that are still widely known, those being this and Halloween. What I've already written about Halloween that made the film so remarkable is that he created an entirely new style of thriller. What makes Big Trouble so genius is how ahead of its time it was - despite how dated it looks. The blend of genres is a very early example of its kind, later evolving into the likes of the Rush Hour films. Also, the decision to have Jack as the "hero" is a jab at stereotypical casting, having the strong and brash male taking the center stage. However, Jack is completely out of his element, while his "sidekick" Wang has everything needed for an action film hero, though he constantly gets shoved to the side.

Despite its sheer awesomeness, the movie didn't hit it big when it reached theaters. It only grossed $11.1m, less than half of the film's budget of $25m. The critics also didn't seem to quite understand the satire in the film, complaining that there was no character development. The negative feedback ended up turning Carpenter off of the Hollywood scene, continuing his career exclusively in independent films. However, since its sad start, the film has become a cult classic, reaching up to 84% on Rotten Tomatoes.

The plot is absolutely absurd, but it really just doesn't matter when you're having as much fun as you certainly will when you're watching this. If this post doesn't convince you to go see this, keep in mind that this is the first film I bought online after watching it for the blog. It was just that good. If you want to make a movie party of it with me, just let me know - I will certainly be willing!

Fun Trivia (Stolen from IMDB):

• The Chinese characters in the main title translate to "Evil Spirits Make a Big Scene in Little Spiritual State".
• According to John Carpenter and Kurt Russell in the DVD Commentary, the story was originally written as a western but Carpenter decided to set it during modern times. They even mention that instead of Jack Burton's truck being stolen, it was originally his horse.
• The Mortal Kombat characters Shang Tsung and Raiden were inspired by the characters of David Lo Pan and the 'Storm' called Lightning, respectively.
• The rivalry between the Chang Sing and Wing Kong Tongs is analogous to the famous rivalry between the Hip Sing and On Leong Tongs (even the names rhyme) in early 20th century New York.