Sequels are often letdowns. Good thing that Kill Bill: Vol. 2 (2004) was a second volume. OK, so maybe it did not speak as loudly to me as volume one. But how could it? I had already been transformed. What I knew about movies and comics was, quite frankly, shattered.
Before encountering the Kill Bill volumes, I thought the only aspect of science fiction that could blur the lines of reality were those centered on technology. We speculate about what is possible, and then we see it in real life, like a touch screen tablet. And horror films, mind you that Kill Bill has some of this, scare us because we go to see them for this very reason. But fantastic comics? Is this not one of the main reasons for the advancement of 3D animation?
In Kill Bill: Vol. 2, Lawrence Bender demonstrates that it was not an idea that can challenge a viewer to grow, but that cinematography and artistic philosophy can still dominate a production. The second volume flows seamlessly, and maybe they were produced so that fans could view them together time and again throughout their life. Will they eventually seem like one movie? Quite probably. Will the ending be a letdown? No.
Kill Bill: Vol. 2 extends the thrill ride. It brings new ideas and polishes existing ones. The characters continue to grow and develop. Viewers are rescued from the ninety minute standard that Hollywood has fed us for decades. Like the intermission at a live show, or a lunch break at an amusement park, Lawrence Bender allows viewers to wipe their brows, feed their head, and take a breath before pressing onward into the wilderness of artistic innovation.
Lawrence Bender was Born in New York City. He is a lifetime environmental and political activist. After a career ending injury as a ballet dancer he went on to captivate viewers with the iconic Reservoir Dogs (1992) and An Inconvenient Truth (2006). Lawrence Bender produced 3 films nominated for best picture and is known for intriguing fans by taking on small movie rolls in his productions.