a5c7b9f00b The Deadly Viper Assassination Squad consists of five most deadly killers, led by Bill. There is O'Ren-IshiiCottonmouth, Elle DriverCalifornia Mountain Snake, Vernita GreenCopperhead, BuddSidewinder. And there is The Bride, whose name is not spoken, who wanted to quit because she was pregnant. One day, somewhere in the Texas desert, The Bride wanted to marry the love of her life. Then Bill and her former colleagues showed up and killed everyone there. But they did not do a good enough job: The Bride survives, barely, and is in a coma for four years. Her colleagues know this but won't kill her in her sleep, it would just ruin the reputation. One day, The Bride awakens. For her, not a second has consciously passed, and after she realizes all the things that have happened, The Bride decides to take revenge. Bloody revenge. On each single one of those who betrayed her. First on her death list is Cottonmouth, who has become the yakuza boss of Tokyo, Japan, second in line is Copperhead, who chose a more decent lifewell. The Bride sets out to take back what was once hers: Her life.
The lead character, called 'The Bride,' was a member of the Deadly Viper Assassination Squad, led by her lover 'Bill.' Upon realizing she was pregnant with Bill's child, 'The Bride' decided to escape her lifea killer. She fled to Texas, met a young man, who, on the day of their wedding rehearsal was gunned down by an angry and jealous Bill (with the assistance of the Deadly Viper Assassination Squad). Four years later, 'The Bride' wakes from a coma, and discovers her baby is gone. She, then, decides to seek revenge upon the five people who destroyed her life and killed her baby. The saga of Kill Bill Volume I begins.
I can almost - almost - guarantee that this film is not what you'll be expecting, and therein lies it's truer potency; an assurance that it can be included in the pantheon of one of the greatest cinematic masterpieces that this decade has so far seen. Tarantino draws from an eclectic range of different cinematic devices that help to lend the film a retroistic, jazz funked kind of coolness. Interspersed amongst the luridly coloured, incredibly sharp cinematic visuals are extreme moments of manga gore that help to underline the films powerfully self referential nature. Uma Thurmans yellow and black striped catsuit is of course a motif redolent of Bruce Lee's Game Of Death, and fans of the now sadly deceased master of martial arts will not fail to notice the similarity between this films closing scenes and those of - respectively - Fist Of Fury and Way Of The Dragon. There is scant characterisation in this film, and any details that we do learn about the films main protagonists or antagonists are revealed either through aforementioned cartoon flashbacks or statistical data suchyou might find in a console game: In other words don't go watching this film for oscar winning character performances! The fragmented, postmodernised plot is almost film noir and will keep you guessing, and the setpieces aregoodanything you'll see in a Jackie Chan or a Jet Li movie. Thurman plays the ice queen with panache and the soundtracks are used to good effect to underline the films constantly swinging, transient mood. The cinematography is well observed with switches from neon, psychedelic crisp visuals to noirish moments clearly drawn from classic Japanese cinema. But it's not action from start to finish; rather the opening and climactic scenes serveaction quotation marks, the intermediary scenes functioning to flesh out background and character. Even if you're not a Tarantino fan and even if you have no real knowledge - (or interest) - in the genre that this film references, this film is worth a look on the virtue of its vision and originality alone: it doesn't feel like Hollywood; it doesn't feel plastic and in a world seemingly dominated by lifeless, bland sequels, this film makes a refreshing change!
Kill Bill is an epic film that is split into two volumes, though one story, the two volumes cannot be more different in it's execution. Kill Bill, when I first watched ita whole, was definitely entertaining buttime went on I have watched Tarantino's films over and over again, I started to lose that feeling that I had with this film and changed my perception of it. Kill Bill may be epic but it lacks something that keeps it from being his best work.<br/><br/>Kill Bill: Volume 1 is written by Quentin Tarantino and what he has written here is simply a revenge-action story. This approach is not a problem for me because it allows me to digest it simply and avoid ambiguity in it's storytelling. Jackie Brown was an example of Tarantino taking a conventional 3 act structure and making it his own. Kill Bill: Vol 1 follows that approach but making it much more epic and somewhat adventurous. The thing about Tarantino's writing here is that he has written something that is much more mainstream friendly than compared to his previous work, which in a way is great because I think that's what he really wants, is to exploit these dying genres and styles to his films for the mainstream audience. Tarantino has written a protagonist that we know very little about, yet we enjoy seeing her kick-ass and reaching closer to her goal. The film is full of dialogue, though notpunchy and indulgenthis previous filmsthe dialogue here is more reliant on it's attitude and delivery. The most enjoyable part of the film is truly the last half of the film where she is up against O-Ren Ishii, and honestly it is so interesting to see these two battle it out because of all the backstory and hype that is being given to us of O-Ren Ishii, it makes her seem like such a challenging opponent.<br/><br/>This is the 4th film by Quentin Tarantino and between the two volumes, I can definitely say that this first volume is much more fun and entertaining to watch. The reason this film is so appealing is that it is enforced with such style mainly influenced by the Asian cinema, particularly in the 70-80s. I don't mind that the film is stylish but it can only do so much. I am more disappointed with the film's screenplay rather than Tarantino's vision and direction. Kill Bill is the mark for Tarantino, when he started paying homages to his personal attachments in films, and he continues to do so in his latter films. The first three of his films has this technique in delaying action and giving us more of the characters in their most normal moments, but Kill Bill strays away from that by upping the violence and action almost to the point unbelievability. Also, the audience must lower their rational thinking when watching thisthe film doesn't take itself too seriously, which is a reason why this is viewed over and over again by it's fans.<br/><br/>Kill Bill is also the start of Robert Richardson's collaboration with Tarantinohis cinematographer. Richardson has worked on prestigious films for most of his career, and worked with prestigious directors like Oliver Stone, Martin Scorsese, and Rob Reiner. Out of all of those directors, I think working with Tarantino allows him to experiment more with the camera and create something more unique. Kill Bill may not look like a unique filmthe way it looks feels more like something you have seen before and that is the response that it's supposed to get from us. Kill Bill's photography pays tribute to the shots found on Sergio Leone's films, or the clichés that are found in Asian action films. Kill Bill's image looks colorful and at times being so saturated it loses the sense of naturalism.<br/><br/>Kill Bill is also the start of Tarantino relying on a film score in driving the musical side of the film. His previous films were full of soundtracks that go exquisitely well with the scene, it's the same outcome here but just replacing it with a score from RZA. The score for this film isn't cutting edge or the best I have heard from a Tarantino film but it is stylish enough that it goes with the director's vision. There are spots in the film where you can hear musical segments either made by Ennio Morricone or inspired by it.<br/><br/>This film is primarily driven by Uma Thurman's performanceThe Bride and she does a great job, though this isn't my favorite role from her. Thurman has to play this character who is clearly emotionally and physically traumatized by Bill's actions but at the same time project a shade of a bad-ass assassin who is fueled by anger. I don't think anybody else could have accomplished this role physically. As the film doesn't take it's self seriously, it does hold Thurman back from showing her range in acting. Lucy LiuO-Ren Ishii was great; she was fun, exciting, dangerous, and bitchin'. Liu stand out scene was when she was at the table with a group of Japanese gang leaders,she managed to come offfrightening but at the same time give off a comedic under tone in her acting. The bulk of the villains are not seen until the second volume, so for the most part it pretty much covers both of these actresses.<br/><br/>Kill Bill is definitely an example of style over substance but it does well enough with the former that it doesn't lead offsuch a terrible movie. Do I wish the script was better, yeah maybe it needed a bit more, but that isn't enough for me to dislike it. Give it a try but I suggest lowering one's expectations and rationality before heading in.
Fun and smart, but undeniably thin, the first installment of Tarantino's action epic is a fanboy fever dream. The clichés are out in maximum force, tempting any critic fool enough to go one-on-one with the master. (The prize: a Ph.D. in Tarantinology.)
The Bride and Johnny Mo face off whilst standing on a banister. The Bride slices his legs off.<br/><br/>"Don't Let Me Be Misunderstood" by Santa Esmeralda:
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