Critic Reviews

83

Metascore

Based on 42 critic reviews provided by Metacritic.com
100
Kill Bill-Vol. 2 puts to shame doubts entertained about aesthetic strategies or structural imbalance provoked by "Kill Bill-Vol. 1." 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.
100
You'll thrill to the action, savor the tasty dialogue and laugh like bloody hell.
100
Variety
Originally conceived as one film, the two-parter that has finally emerged can now be seen as a truly epic work.
100
Film Threat
"Kill Bill Vol. 1" was a pure action movie, in love with collisions of violent movement. “Vol. 2” relaxes the pace, allowing for extended monologues. Those who lamented the first film's lack of wicked word exchanges should delight in Carradine's final soliloquy.
100
A piece of spectacular silliness, but that's not meant with disrespect. The key word is spectacular.
100
The A.V. Club
The film succeeds by expertly melding the two stages of Tarantino's career. The rambling Tarantino of "Jackie Brown" and "Pulp Fiction" is evident in every lovingly crafted and delivered monologue, each leisurely paced scene and long take. The more action-oriented, fight-intensive Tarantino reappears in the viscerally exciting bursts of ultra-violence that punctuate the stretches of dialogue.
75
ReelViews
As it currently stands, Kill Bill is a victim of its director's ego and its distributor's greed. The moments of greatness make it worth seeing, and there's certainly plenty of entertainment to be found here, but it's hard not to lament what might have been.
70
Village Voice
What's surprising is the atmosphere of sweet reason--elatively speaking--that distinguishes Kill Bill Vol. 2 from its bloody precursor.
50
New York Magazine (Vulture)
I don't mean to unduly target Kill Bill Vol. 2 --it's certainly no worse than most of the blam-blam fare out there. But what I crave now are movies that speak to me in a different way about violence, that acknowledge the fact that real people are harmed.
40
The New Yorker
A shapeless mess, but at least it’s not as monotonous as “Kill Bill Vol. 1.” [19 & 26 April 2004, p. 202]

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