Friday, April 16, 2004

Kill Bill

I was wondering on the way to work this morning if some of the same folks who didn't like The Passion of the Christ because it was so voilent would like Kill Bill.

Sure enough, Kirk Honeycutt from the Hollywood Reporter comes through with flying colors.

On The Passion of the Christ
As the film arrives swathed in controversy over its near-pornographic violence and concerns about its potential to incite anti-Semitism, the opening weekend's boxoffice should surpass its reported $25 million cost. (emphasis mine)
and also
The spiritual significance of the Crucifixion gets swamped in an orgy of violence visited upon Jesus' body.
and don't forget
This, then, is a medieval Passion Play with much better effects. Flesh is flayed in grotesque detail. Body fluids spurt in exquisite patterns. Slow motion captures any action or glance Gibson deems significant.


On Kill Bill, though, he uses a different standard. For Kill Bill - Volume 1, he had this to say
Blood is the dominant leitmotif of Quentin Tarantino's "Kill Bill -- Vol. 1." It oozes, drips, flows, gushes, splatters and geysers in lush crimson to oily black. Scalps, limbs and heads are freely removed from characters' bodies. Since the movie essentially takes place in an Asian action-movie world, we're not to take offense at this torrent of blood and dismembered bodies. In each "chapter," art design, costumes and music are lovingly crafted to pay to homage various "grindhouse" B-movie genres. There is an aesthetic -- a movie-geek obeisance, if you will -- behind every moment of violence.
He does have some critiques, but the film being to violent and bloody are not among them.

On Kill Bill - Volume 2, he says
Now that the entirety of Quentin Tarantino's epic revenge melodrama is on view, "Kill Bill" emerges as a brilliant, invigorating work, one to muse over for years to come.
and
Here is a movie that not only pays homage to a host of action-movie styles but rigorously explores its pulp fiction for visceral truths that link culture and cinema. Here's a movie that both academics bundled in film theories and teenagers on hot dates will find supercool.
Funny, no mention of a near-pornographic orgy of violence.

I wonder why that is?

UPDATE: From the "Great minds think alike" file, John Rabe does this much better today.

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