Algo falla en esta película que no consigue mantener el interés en todo momento, haciéndose pesada y lenta. Ni siquiera el gran reparto da lo mejor de si mismo, salvo Samuel L. Jackson. En la filmografía de Tarantino sólo Death Proof me parece peor que esta.
Nota: 5,5Audio/visual Tarantino mash up by Eclectic Method
For the archives, because this simply kicks ass.
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A pesar de ciertos momentos que resultan desconcertantes y tediosos, al final la película funciona y muestra una nueva y realista visión del conflicto nazi que sólo Tarantino se atrevería a realizar. A destacar el papelón de Christopher Waltz, a quien espero le caiga al menos una nominación en la próxima edición de los Oscars.
Nota: 7
Una gran decepción me he llevado con esta película. El Tarantino más aburrido simplemente monta una excusa para homenajear a sus películas de persecuciones favoritas. Lo mejor es la persecución final pero aún así no es algo del otro mundo.
Nota: 4
"You shoot me in a dream, you better wake up and apologize." (Harvey Keitel in Reservoir Dogs)
The centerpiece of this collection is David Bowie's "Cat People (Putting Out the Fire)." In the movie, it serves as sonic backdrop to a ritualistic preparation for one of the main character's most pivotal moments. During the flow of the record, the song exerts the same effect that it does in the movie—bleeding raw, unbridled emotion. Regardless of the era it was recorded in, each song feels meant for the film because Tarantino covers such a wide range of emotions in the narrative. via
Tu Mira - Lole y Manuel - Track 5 - Kill Bill Vol. 2
The decidedly Old West motif seems to momentarily shift as the edit of "Tu Mira" begins deceptively with an angelic chorus. But the song then reveals its true, Spanish guitar inflected self, thus perpetuating the dusty, sun caked spaghetti undertones. Luis Bacalov keeps the Italian connection in check with his blazing wave of bass driven international orchestral funk on "Summertime Killer." It's the type of retro, '70s blast that Tarantino loves, combining elements of John Barry, Curtis Mayfield, and Italian proggers like Aphrodite's Child, Magma, and Goblin. While the track is only a paltry 3:39 in length, it feels much longer, coming off like a truncated epical jam. The '70s orchestral jam vibe is continued with the organ driven "The Chase," which injects flute and a rolling bass groove to create an engaging riff that lives up to its title.
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