I didn't leave the cinema aching to see Volume Two (out in February), though I'm interested to learn how things work out.
Kill Bill Vol. 1 (2003)
Runtime: 1 hr 51 mins
Synopsis: After a six-year hiatus, Quentin Tarantino returns to the director's chair with KILL BILL. The movie proves once again that he is a hyperactive visionary and the master of cinematic coolness. Split into two volumes by Miramax in order to ensure that Tarantino's vision would not be... After a six-year hiatus, Quentin Tarantino returns to the director's chair with KILL BILL. The movie proves once again that he is a hyperactive visionary and the master of cinematic coolness. Split into two volumes by Miramax in order to ensure that Tarantino's vision would not be compromised (and presumably to sell more tickets), KILL BILL: VOL. 1 tells the first half of the sprawling story, which is quite simple at first glance. A female assassin, referred to as "The Bride" (Uma Thurman), is attacked on her wedding day. Dead are her soon-to-be husband and unborn child. However, she doesn't die. Four years later, she wakes up from a coma looking for revenge. Although her ultimate target is her former boss, Bill (David Carradine), it's quite clear that The Bride is saving the best for last. And before she can track him down, she must methodically take out the minions who ruined her life. VOLUME 1's targets include Vernita Green/Copperhead (Vivica A. Fox), Sofie Fatale (Julie Dreyfus), and the heartless O-Ren Ishii/Cottonmouth (Lucy Liu). Using a blessed sword handmade by Hattori Hanzo (Sonny Chiba), The Bride begins her relentless assault. Turning up the style and energy levels that he kept under a threshold with 1997's JACKIE BROWN, Tarantino's obvious glee and reverence for the underground kung fu action pictures of the '70s, and Sergio Leone spaghetti westerns, makes for a stunning visual spectacle. Employing split screens, slow-motion, an anime sequence, and his trademark ultra-hip musical selections, Tarantino's film dares viewers to be unimpressed. [More]
Genre: Action/Adventure
Starring: Uma Thurman, Lucy Liu, Vivica A. Fox, Chiaki Kuriyama, Sonny Chiba
Screenwriter: Quentin Tarantino
Producer: Lawrence Bender, Quentin Tarantino
DVD Info
Release:
Jul 4, 2006
Reviews
It's all bang, bang; no kiss, kiss. But this is still bravura film-making from a prodigious talent, and Thurman may yet prove its saving grace.
Has all the coolness and daring and wit through which Tarantino made his name. It delivers what we expected, and packs some shocking punches on top.
Despite the (for some) outrageous amount of violence, Tarantino manages to stage these fight scenes with panache, opting for a tongue-in-cheek tone that elicits more chuckles than gasps of horror.
It lacks the trademark snappy dialogue but delivers fantastic fight scenes, a cool soundtrack and a dizzying array of cinematic tricks.
A barely watchable mess, a tangled montage of fashion gloss streaked in gore, a cocktail party in an abattoir.
The characters are vivid enough to rise above [Tarantino's] cinematic nerdiness. Thurman is shockingly good.
A blood-stained love letter to exploitation movies that seems to be missing a few pages.
A strange, fun and densely textured work that gets better as it goes along.
Even more gory and adolescent than its models, which explains both the fun and the unpleasantness of this globe-trotting romp.
Kill Bill is a temple of worship -- a devout hymn of praise to crap cinema (which isn't always crappy).
Kill Bill is pretty stupid, but there are also moments of beauty and brilliance.
Unfolding as a book the film is conceived in chapters, each boasting the look and pulse of a specific genre; as expected of Tarantino, there are references to music, literature, fashion, and above all movies and pop culture, both American and foreign.
A movie that, without Uma, would have ultimately been a stylistic masterpiece, but never the stirring epic that it is shaping up to be.
Perhaps the funniest thing about Kill Bill: Volume One is the realization that this ode to ultraviolence and Uma Thurman's feet is probably Quentin Tarantino's most personal film.
Volume One is, above all, a parade of fantastic fight scenes, each one bloodier than the one that came before ... bloody in the Looney-Toons/Monty-Python sense.
There is no ironic overlay in Tarantino’s movies, no 'commenting' on the pop schlock he’s replicating. He simply wants to remake in his own way the kinds of movies he’s always loved, and he’s about as uncynical as a movie geek can be.
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