Kill Bill: Vol 2 (deleted scene)WHY REGISTER? Register if you like to comment or write captions. It's simple and free. Your username cannot be used by guests. You can personalise your profile picture. Comments remain editable for 5 mins after submitting. There are no captchas when you submit a comment. You are informed of replies to your comments. Your comments are archived for future reference. Film @ The Digital Fix“You’re not a bad person. You’re a terrific person. You’re my favourite person. But every once in a while, you can be a real cunt.” - Bill. I originally wrote about Kill Bill Volumes 1 and 2 separately, the first before the second had even been released. Looking back at these older reviews, they have their strengths and weaknesses, but most crucially they lack one major factor: an appreciation of the bigger picture. Obviously, the benefit of hindsight is a wonderful thing, and I would like to take this opportunity to reappraise Quentin Tarantino’s blood- soaked homage to 6. Eastern and Western genre cinema as a whole rather than as two self- contained volumes. With the so- called “Whole Bloody Affair” (which combines both parts into a single four- hour epic) still not having seen the light of day outside of a handful of screenings at select theatrical venues, viewing the two individual episodes back to back would seem to constitute the current best way of appreciating what Tarantino originally intended. Having massacred her friends and husband to be, taken her unborn child and left her for dead, the perpetrators are understandably due for some grim retribution. And retribution doesn’t come much grimmer than that which the Bride exacts, setting forth to cut a bloody swathe through all and sundry that stand in the way of the ultimate target of her vengeance: Bill himself. On the downside, he is unrelentingly self- indulgent, and there is some validity to the oft- levelled accusation that he really needs to get himself a new editor: pacing across the board is problematic, with a number of scenes going on for so long as to become tedious. Oddly enough, this is more problematic in Volume 1, which many cite as the more involving of the two. This is partly because of the juxtaposition between bursts of intense action (such as the justly lauded House of Blue Leaves fight sequence which serves as the first instalment’s climax and main action set- piece) and the slower, more leaden moments where Tarantino allows the action to grind to a halt so he can indulge in dreary, overwritten conversations or needlessly extended detours into the back- stories of incidental characters. In comparison, Volume 2 operates at a considerably slower pace across the board, lingering on locales and characters’ facial expressions, particularly during stand- offs, much like the westerns (both American and Italian) it is referencing. As a result, the tempo is more measured, and the fact that the real meat of the plot and characterisation is concentrated in the second half means that the slower scenes carry more dramatic weight than those in Volume 1. There’s a such level of panache in the execution as to leave you in no doubt that the man behind the camera has a genuine love for each and every film, television show or pop song he has cribbed from, no matter how obscure or superficially tawdry the source materials might be. Occasionally, he comes dangerously close to stepping over the line which separates homage from parody (the Pai Mei training sequence in Volume 2, entertaining as it is, does have a somewhat snide tone), but for the most part Kill Bill has a sincerity that belies that fact that it is essentially a collection of characters, lines and scenes re- sampled from films that most of the audience has never heard of, let alone seen. It’s tempting to view Tarantino as the film world’s equivalent of a DJ, re- appropriating and remixing other artists’ handiwork, and at times his choice of material doesn’t make a great deal of sense (is there really any meaning, for instance, in repurposing Nora Orlandi’s themes from the giallo. The Strange Vice of Mrs. Wardh in what is ostensibly the context of an homage to westerns?), and there’s also something slightly disingenuous about a multi- million dollar blockbuster that squanders massive amounts of money attempting to emulate films whose budgets wouldn’t even cover this film’s catering bill, but it’s doubtful that all these individual elements could have been mixed into a more potent cocktail than this. Both films are technically excellent, with Tarantino aided by an extremely talented cinematographer, the great Robert Richardson, and (in the first volume) the combined efforts of Yuen Woo- ping and the KNB EFX Group to provide a heady mixture of slick wirework and over- the- top grue. Kill Bill: Volumes 1 and 2. Volume 2:, - The Making of Kill Bill Volume 2, - 'Damoe' Deleted Scene, - 'Chingon' Musical Performance. Kill Bill: Vol 2 (deleted scene). Latest comment: Kill bil and kill bill 2, probably the worse 2 films I had the mispleasure of watching. A lengthy confrontation between the two is the one and only deleted scene on the Vol. The Bride is, at least until the final act of Volume 2, a paper- thin construction, more of an icon than an actual character (and, arguably, deliberately so), but Thurman’s gung- ho performance allows her to overcome the limitations of the role, establishing her as a genuine action heroine in the process. She manages to alternate between over the top and comparatively subtle, spitting out hokey dialogue as if she really believes in the words she’s saying, and as a result lends the films an air of credibility that they would have lacked had she approached the character with her tongue in her cheek. Both volumes are, of course, peppered with star turns and cameos (some extended, some brief) from numerous icons of world cinema, with Gordon Liu, Sonny Chiba and (extremely briefly) Samuel L. Jackson all butting heads. If there is a true stand- out, however, it’s David Carradine as Bill, giving a measured, nuanced performance and succeeding in making a cold- blooded killer seem like an amiable, whimsical eccentric – something which only succeeds in making his sudden bursts of violence and cruelty seem all the more shocking. I suspect that its whole is actually slightly less than the sum of its parts – the strongest moments tend to be individual scenes and snatches of dialogue which don’t ultimately contribute a whole lot to the bigger picture – but it’s a fun romp overall, if ultimately a superficial one. For my money, Tarantino’s best work remains Pulp Fiction and Jackie Brown, the latter the closest he has ever come to making a “normal” film, but I find myself returning to Kill Bill more than these two put together. Perhaps I’m just a sucker for silly Caucasian girls who like to play with Samurai swords. They are both presented in their original 2. Volume 2 which is windowboxed to 1. DVDs), and have received AVC encodes on dual- layer BD- 5. Kill Bill was treated to a digital intermediate, which caused Tarantino, who felt that the end result was overly clean, some misgivings. The cleanness to which he was referring is, I suspect, due to a grain reduction pass, the results of which are unfortunately readily apparent more or less consistently throughout the film. This takes the form of “sluggish” movement of the film grain and some smearing on textures and facial features during fast movement (the grainy monochromatic sequence in the wedding chapel at the start of Volume 2 is worst affected), in addition to some ghosting (particularly prevalent in the animated sequence in Volume 1 which charts the origin of O- Ren). Ultimately, the image looks rather digital and not at all like the films being referenced, with only the deliberately grainy Pai Mei training sequence exhibiting anything close to an unadulterated filmic look. Detail is almost always very good, resulting in the films looking completely different from the very disappointing, overly processed standard definition DVDs. Compression is faultless across the board, and, barring the noise reduction, there is no other evidence of digital tampering, apart from what looks like some light edge enhancement in the snow garden at the end of Volume 1. Overall, both films look very pleasing to the eye, with the flaws that do exist more than likely being the fault of the production house contracted to produce the DI rather than the technicians responsible for the Blu- ray transfers. Read about the Kill Bill Vol. 2 DVD and browse other DVD movies. Special Features: The making of Kill Bill Volume 2 'Damoe' deleted scene 'Chingon' musical. Which villa was used in the end of Kill Bill 2. What movie is playing in the final scene of Kill Bill 2 where 'Black. The Damoe deleted scene also mixes belly laughs and gut. Damoe deleted scene; The Making Of Kill Bill: Volume 2. Kill Bill: Volume 2 is a 2004 American martial arts film written and directed by Quentin Tarantino. Sony Ericsson Scene of the Year 'The Bride' versus 'Elle. Kill Bill 2 Deleted scene (HD quality) Sign In * Upload Upload. Whiplash (2014) The final scene - J.K.Simmons, Miles Teller, Melissa Benoist. If you missed our behind the scenes gallery from Kill Bill Vol. 1, you can find it here. Dialogue is clear across the board, and the individual pops and crackles in the vinyl- sourced music tracks are crisply rendered (no doubt a little too crisply for some!). The rear channels are used effectively throughout, with the standout moment being the “buried alive” segment of Volume 2. These rank as among the best audio tracks available on Blu- ray at the moment, and truly show what a lossless audio presentation of a good mix can do to enrich the viewing experience. Non- English dialogue is, as with the DVDs, player generated, but does a far better job of “blending in” with the rest of the film than on these previous releases. For the most part, they are accurately placed within the picture frame, although on a couple of occasions in Volume 1 the text does unfortunately stray out of the picture frame and into the letterboxing below (a pain for those with 2. In the case of Volume 2, the Japanese version gains little more than a few seconds’ worth of establishing shots, but for Volume 1, the differences are considerably more significant. In addition to having the entire House of Blue Leaves fight scene in colour, the Japanese cut also gains a number of additional gore shots and a longer version of the O- Ren origin story, in addition to other more minor changes which are adequately catalogued elsewhere. Many viewers, myself included, prefer Volume 1 in its Japanese incarnation, and those who are likely to be bothered by these differences may wish to hold out for an unexpurgated copy at a later date. In other words, they don’t amount to anything particularly worthwhile. Each volume receives a fairly superficial “making of” EPK (2. Volume 1 and 2. 6 minutes for Volume 2), consisting of behind the scenes material, far too many clips from the films, and perfunctory clips of the cast and crew answering the usual inane questions that have been put to them. Volume 1 also includes 6 minutes’ worth of unused footage of Japanese band the 5, 6, 7, 8s performing at the House of Blue Leaves, while Volume 2 has Robert Rodriguez, who composed the small amount of original music heard in the film, performing live with his band at the film’s premiere party.
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