|A 'nice' little article to start us off
||[Aug. 27th, 2006|02:08 am]
Quentin Tarantino Sucks
Kill Bill Weds The Familiar With The Banal (But The Music Is Cool)|
by General Stuff (November 13, 2003)
American aphorist Mason Cooley once wrote, “Art begins in imitation and ends in innovation.” Somebody tell Quentin Tarantino.
Kill Bill (volume 1 – wait until February for volume 2, which suggests a fragment of the film makes as much sense as the whole film), Tarantino’s homage to grindhouse cinema, contains plenty of imitation, tightly choreographed and lovingly executed, but very little innovation, unless you consider a pastiche of scenes from genre films of the seventies innovation. The General does not. The General salutes Stanley Kubrick, by comparison.
First things first. Kill Bill is a funhouse of blaxploitation, spaghetti western, and chop sockey conventions, all jeering at the audience in mock celebration. It even references Tarantino’s own films, inserting ads for Red Apple cigarettes, echoing Uma Thurman’s character and dialogue in Pulp Fiction, and catching Lucy Liu’s character in a slo-mo strut with her bodyguards flanking, a la Reservoir Dogs.
The Bride (Uma Thurman), you see, was almost killed on the day of her wedding. After lying comatose for some time (and being raped by truckers who tip the night nurse – a gag Tarantino plays for laughs), The Bride awakens ready for a bloody rampage, seeking vengeance on the people who tried to assassinate her.
You don’t need to know much more of the plot; there really isn’t any. Each scene of the film replicates the look and feel of a particular grindhouse genre. The opening tussle with Vivica A. Fox resembles the conventions and tone of a blaxploitation film; the closing swordfight with Lucy Liu is Tarantino’s version of a Sergio Leone gunfight. Film geeks may get off on playing “name that film,” but for intelligent viewers like The General the splatter of cinematic allusions proves only that Tarantino knows imitation better than innovation.
Read the rest here...