It's a very hardcore R-rated film, suitable for gatherings to watch, and you can also see a sense of joy (after all, the human blood shower is really strange. The first film is purely visual enjoyment, although the "violent aesthetics" is always mentioned. The colourful cereals were scattered all over the floor, the blood was pouring out of hundreds of people, and in a blink of an eye, they entered a sci-fi-filled indoor fight, and suddenly it was a duel in a dry landscape courtyard. With music, Quentin controlled the rhythm of the whole film very well. He wanted the ultimate scene and multi-faceted style. Playing a north and south magnet into a Mobius ring is a kind of beauty in itself. The moment of capture is the chapter of Yulian's childhood. When I saw the comics, I remembered the "new novel" that Zhang Yueran said in class. I think the concept can be misappropriated, and Quentin is trying some kind of "new movie"- -A movie doesn't have to be just one look, it can be multimodal, literary, anime, or multi-perspective, like the bullet that passes through the human body, peeping at the female companion through the fatal wound Those exaggerated expressions of Zhong Er can be forgiven, as if "the master is fighting something that makes us feel scared, angry, with blood, fatal wounds and stench". The picture of 2 suddenly slows down, The early plot is still blessed by the halo, and it seems mediocre after giving up the impact of the senses, but it can't reach the moment when Bill is found, Beatrice disarms and surrenders in front of her daughter who "shoots" at her. The bloody storm in front is just two killers. A footnote to love, because my daughter is leaving, I want to be silenced because I run away, and I have to pay for it because I don't die. I still like the ending, killing Bill because Beatrice was born to be a killer. Can't reconcile, She could only cry in the bathroom, and the little girl who lost her mother lost her father forever. "Vengeance is not a road, but a forest. It's like getting lost in the forest and forgetting where you came from." For a moment, although it is an American film, there are many Chinese and Japanese elements, and in the clumsy "imitation", Quentin's identification with Bushido and chivalry can still be seen, and this kind of hybrid, the paradoxical things are unique kernel.
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