Kill Bill: Volume 1 Reviews
The Japanese school girl whom nearly stole Uma Thurman's show (Chiaki Kuriyama) gave a performance a New York audience would clap to giving her praise for the hard work she imposed as the hardcore "Go Go Yubari" role that would skyrocket her to Japanese fame.
This movie gives you the action you want and the suspense you're looking for without taking it too seriously. A perfect mark of respect for the films that use to be the ones most would spend a Sunday afternoon watching.
The opening is good (enough, expecting some over-the-top antics from Tarantino), and it remains pretty compelling through the flash-back to the hospital, her escape, the journey to Okinawa and receiving the sword from the legendary sword-maker-guy. Dramatic tension actually builds as she races through Tokyo and stakes out the club. Then begins the downhill slide.
From the first ridiculously silly shower-spray of blood from a severed limb, we get a descent from bad to worse. As much as I wanted to see her kill Lucy Liu and "Bill" (if she ever gets to him), it just wasn't worth sitting through another 20 minutes of Hanna Barbera cartoon crap. There are very few movies that I've been unable to stick out until the end, but this definitely was one of them.
One star is generous. Every critic who didn't rip this garbage apart should be ashamed.
What makes an instrument of death is knowing what is right and wrong in whom to kill, that gives us the strength to overcome our enemies we seek to judge. What gives us the strength doesn't come from what you see from the outside but the inside that makes us worthy to hold the finest sword, when it's not the sword that makes it instrument of death but the warrior that accepts their peace, honour and journey from onward here.
It's undeniably stylish and features some brutally brilliant action sequences, all captured with lush cinematography - but it's rather empty underneath all the glamour, and unfortunately has too many expositional scenes that simply weren't needed.