Bill tells his brother Budd that Black Mumba is coming to him for revenge. Budd accepts her right to settling the scores and is no longer the assassin he was in the Deadly Viper Assassination Squad but a washed out, bouncer living in a trailor. He works in a run-down strip club and subjected to abuse from his manager in humiliating circumstances. In the showdown between Black Mumba and Budd a suffocating end looks inevitable when Budd detains Black Mumba and burries her alive. Her body is spat upon and beaten before threatened with mace. In this scene Tarantino, changes the screen format from widescreen views to a 4x3 ratio. This is identified by Roger Ebert of Chicago Sun-Times to symbolise the claustrophobia of being buried in a wooden casket. Tarantino, who began the film in black and white before switching to color, plays with formats here, too; to suggest the claustrophobia of being buried, he shows The Bride inside her wooden casket, and as clods of earth rain down on the lid, he switches from widescreen to the classic 4x3 screen ratio. It is an eerie feature of the film leaving the audience stunned as the image becomes a blank darkness and gravel can be heard being thrown upon the casket and a car driving off in the distance. This once again allows the audience feel and confide with the character and the experience of being buried alive is enhanced through the audio mixing of dirt hitting the coffin and feel a sense of fear in the character over her heavy breathing.
The film recalls Black Mumba’s training with the legendary Pai Mei and how this ultimately led to her career with Bill as a deadly assassin. At this point the film is interspersed with flashback memories tying the characters to each other, their relationships and the plot is put into a clearer perspective. Ultimately these leads to Black Mambas triumph over the wooden casket where she is able to free herself from the wooden confines due to her amazing skills obtained through the teaching of Pai Mei. Tarantino has totally embraced the Martial Arts saga in a transcending style, combined with lighthearted comedy has created a revelatory masterpiece. As Roger Ebert writes Tarantino has made a masterful saga that celebrates the martial arts genre while kidding it, loving it, and transcending it.
Following this scene is a demonstration of fight choreography where Black Mumba battles Elle Driver in some fantastic movie action sequences. The battle is in Budd’s trailer and ends in gory, but equally amusing way where Black Mumba plucks out Elle’s other eye causing her to have suffered the same fate from the same master Pai Mei which she trained under and poisoned. It gives a sense of retribution as Black Mumba steps on the eyeball as she leaves the blind assassin to fend for herself.
Towards the end of the film Black Mumba scopes out Bills home to discover her thought to be deceased daughter which reveals a climax in the film. Once again the dialogue exchanged between her and Bill reveals relationships and shows the film is interspersed with themes such as regret, loss, triumph over evil, devotion and love. The audience is held in anticipation with the fact that Black Mumba is in a predicament, being whether she can kill Bill after he has raised her daughter with love and devotion. The ending is abrupt where a quick fighting scene ends in Bills spectacular death and Black Mumba and her daughter reunited where she is overcome with joy.
Looking at three different reviews of the film Kill Bill:Volume 2 it is evident that there are traces of good cinematography, sound and editing such as the burial scene. However there seems to be a great deal of dialogue such as the long conversations between Bill and Black Mumba. However this may be due to the resonance of character development. An online reviewer posted the following comment There are numerous "problems" with KB2, the main one being the simple fact that it's too damn "talky." Yes we all know that QT knows his dialog, but where the first film lacked the trademark QT dialogue, KB2 over flows with it, and it just becomes tedious. Almost nothing happens for about the first 50 minutes of KB2. Looking at the features of the film, it can still be said that Quintin Tarantino has created a landmark film cross-blending genres and produced with innovative film making technique. I view this film highly for it sets the mark for other films to be weighed against but is also an entertaining movie in itself, continuing the saga and finishing it in a way that satisfies it’s audience.