| According to Darwin Mayflower of Coming Attractions this screenplay has many flaws * self-imitation. He calls Quentin, �An aged guy past his time revisiting what people once responded to because he�s come to the end of his creative road.� This is a critique about the structure, the look of the film. Well my comment �- not an attack �- is that the novel-structure worked perfectly well for me. I have to say, I didn�t read it critically. I read it as a book, searching for entertainment. And like all entertainment I do see the difference between quality and quantity. Like for instance I truly enjoyed Behind Enemy Lines, but for no instance I�d say it was a qualitative good film. It was a movie. And that�s how I would call Kill Bill, it is a movie. But it is a great movie. Without any doubt, if this film will get a R-rating, this will have a huge box-office draw. Because this is a non-stop action movie. There are barely any quiet moments. This is a movie best watched with friends, as you can enjoy each crazy act or line after another. And from mine point of view, that�s how Tarantino sees it. I doubt that he believes this thing will we nominated for Best Picture at the Academy. Or thought by critics as his best work. This will not top Pulp, no way Ebert is going to give on that. He made this one for the fans. So all the elements are here. His trademarked long one-shot, (deadly) suitcases, cameo�s from his earlier created personages and above all, memorable deaths. And more. But does he imitates himself? Absolutely no. This script absolutely doesn�t resemble his previous work. This is a martial-arts flick. There ain�t no dialogues about AK-47 or drugs. This is all about The Bride, all about the vengeance. And he gives this movie a particular look by giving it Spaghetti Western Style flashbacks, fight scenes in Black and White and split-screens. * �It has no story, no drive, no narrative thrust.� He�s partly right about this. In the first few pages she gets into a coma, losing her child, and when she wakes up she wants to kill everyone responsible or who happens to be in her way. And the official first act ends at page 5. So the second act counts more than 200 pages. But doesn�t films like Speed face the same problem? Yes, we know for certain by reading the very first pages that she won�t die till she faces Bill, but who thinks Keanu will die in the bus? For a 100 percent we are sure that our Hero in Speed will survive. It will have a happy ending. But the reason we watch those films is that we want to know how our Hero saves the day. These films which I�m talking about aren�t intellectual Merchant-Ivory-like productions. They�re Tinseltown�s formulaic products. And how unlikely it might seem, I see this as a kind of Hollywood Summer Blockbuster. This won�t provoke any intellectual thoughts about life and death. This won�t make people think about their own existence. It�s just Uma and a shitload of weapons and a shitload of people in her way. * �There isn�t a memorable quote in this overlong script, and the pasty, dried-out, stilted dialogue we�re presented with reads like the instructions to your computer.� Just one sentence to end this argument. �You fucked with the Wong sisters.� This will make the audience cheer if you see it on the big screen. Believe me. * �I have no problem with violence in movies, but senseless, slick, indulgent violence in action movies does get on my nerves.� I won�t argue about this, since he thinks in the context of 11 September. But for those who aren�t, like me, it hasn�t got me on my nerves. People die in movies. We�ve all seen it. But like The Showdown At House Of Blue Leaves, chapter 4, she kills about 26 people there in a staggering fight of 22 pages of fantastic swordfights. Do we want to cut away the fight, so we could get to the point? Yes, if the fight isn�t interesting. But it is. |
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