Kill Bill: Volume 1 Reviews
La destreza de Tarantino es notoria en su cuarto film, transformando una trama cliché en una historia magistral que sólo un genio como Quentin puede lograr, personajes singulares y redondeados eficazmente en una película que hará a la audiencia identificarse con ellos y adentrarse en el largometraje.
Most of the acting in this first part is questionable. Uma Thurmann, who was half decent in Pulp Fiction, is completely unbelievable as the so-far-nameless assassin on a revenge trip to kill the people who beat her up at her wedding, finishing with the master who trained her. The film begins with her beating up the second person on her list of five, before flipping back and forth in time as Tarantino sees fit.
Proof that Tarantino is only interested in the spectacle, particularly the spectacle of violence, is to be found in this opening scene. His choreography of the knife fight is brutal and his camera work is good, taking you into the heart of the action. But despite the amount of blood being shed, and the cries of pain coming from the actors' mouths, not once in the scene do you either feel the characters' pain or care about their fates. This is followed by a wooden exchange between the two characters when her daughter comes home from school. This lasts a reassuringly short amount of time before the violence breaks out again.
Throughout the film Tarantino plays various visual tricks on the audience in a vain attempt to show us that he is a not simply a splatter freak, but an artist. Part of it is shot in black-and-white; part of it is in extended slow-motion; and part of it is animated by the same people who later made the video for 'Breaking The Habit' by Linkin Park. While that video made sense, being only 3 minutes long and entirely animated of the band's performance, in this it just feels out of place; it feels like Tarantino used it because he couldn't get the blood to spray out right in real life.
Other problems include the ridiculous fight in the club, where Uma Thurmann manages to defeat over 50 highly trained martial arts warriors by barely touching them. There follows a highly dubious sequence of Thurmann fighting a teenager dressed as a schoolgirl wielding a mace. The obsession with bloodshed and pain-which-isn't-pain eventually becomes tiresome, as does Lucy Liu who appears to have crafted a performance based entirely on shouting and squinting.
After Pulp Fiction and Jackie Brown, this is a very bad comedown for Tarantino. It's not terrible, it's just really, really frustrating and, to be honest, quite boring.