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DVD (55)
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.
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.
I would argue that, in a bizarre way, Mr. Tarantino empowers women as no action-genre director before him ever has.
Simultaneously a spectacular act of movie-making and a slight movie.
Kill Bill is one long yakkety-yak about Tarantino's passions. He's the samurai who won't shut up.
Visually striking, but also very violent.
A head-spinning dream project of extraordinarily bi-polar, nutso invention, Vol. 1 is a candy store rampage, cheering on Tarantino's fetishes as he built a colorful war machine of ideal double-feature dementia.
Quentin Tarantino's long awaited fourth film finds the pop culture carnivore of filmmaking reinvigorating cinema a second time over with a single-plot-trajectory revenge movie that utilizes samurai sword action with a shifting score of infectious guitar d
With its eclectic use of music and inventive mix of genres, Kill Bill is a striking and enigmatic revenge film visually and culturally rich and relentless in its action.
Something borrowed, something bloody. [Blu-ray]
Visually, this is probably the definitive Kill Bill: Vol. 1. Those without top-notch entertainment systems, however, may be better off sticking with the version they already own.
It's not my taste, but I can appreciate what Tarantino is trying to do.
Tarantino instead relies on delirious, high-octane, imaginative camera work; an anime sequence; and an exhilarating musical soundtrack to punch up a story that loses its intoxicating magnetism well before the final credits roll.
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 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.
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.
One of the best films of the year, and, when it's all said and done, probably the decade.
Tarantino is back with his most polished and yet slightly empty effort yet.
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