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15 of 16 people found the following review helpful
5.0 out of 5 stars Kill or be killed...
So by now everyone knows the plot and storyline to Kill Bill. The Bride (a very sexy but deadly Uma Thurman) is beaten and shot beyond belief on her wedding day when she tries to leave a squad of assassins known as the Deadly Viper Assassin Squad. She survives but is comatose for 4 years. Then she wakes up...
From thereon, it's blood and limbs all the way. To those...
Published on 31 Aug. 2004

1 of 1 people found the following review helpful
2.0 out of 5 stars Excellent movie ruined by faulty sound/image
Bought volumes 1&2 as a Christmas present for my husband. The films are fantastic but sadly we had to send both bluray discs back due to faults. I don't know how to describe the faults in technical terms but both discs had the same problems: loud beeps and screen/ image shaking. Only happened a few times but it was noticeable. Amazon sent replacement discs which had...
Published 23 months ago by JazzyJ

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15 of 16 people found the following review helpful
5.0 out of 5 stars Kill or be killed..., 31 Aug. 2004
By A Customer
So by now everyone knows the plot and storyline to Kill Bill. The Bride (a very sexy but deadly Uma Thurman) is beaten and shot beyond belief on her wedding day when she tries to leave a squad of assassins known as the Deadly Viper Assassin Squad. She survives but is comatose for 4 years. Then she wakes up...
From thereon, it's blood and limbs all the way. To those of you who don't like too much violence, I am sorry to say that Kill Bill is not the film for you. A shame as I would like to recommend this film to everyone. Tarantino has delivered another trump card in film making here and it would be a travesty to miss out on it.
You may have gathered that the film is good, but why? Well there is a whole list of plus points ranging from the well orchestrated bloody fight scenes to the equally bloody but informative Anime sequence half way through the film. The dialogue is as clever as it is witty and blunt. A high percentage of the films dialogue is spoken in Japanese with subtitles which doesn't distract you from the film as much as some people think it does. As always I find the Tarantino soundtracks to be a tad quirky but they do always work. The soundtrack here is no exception. Included are songs from Nancy Sinatra, the theme from the Green Hornet and the RZA tune from the trailer. You know the one. Knowing nods and winks to past samurai films, costumes and fight scenes make this an entertaining film all round.
There will be some of you who just don't get the whole idea of the film. From the cheesy opening feature presentation, through the Anime and the spouting bloody limbs everywhere. It's homage to films gone by, mainly Japanese and it's brilliant.
Overall, yes it is bloody and yes there is foul language and yes there are disturbing scenes. But yes it is one of Tarantino's best films and brings something a little different to the screen. Buy it, rent it, whatever...just watch it.
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4 of 4 people found the following review helpful
5.0 out of 5 stars Fantastic, 7 Jun. 2005
Kill Bill is a favourite of mine because of the clever way in which it has been made. The opening scene shows 'The Bride' (Uma Thurman) being shot in a Texas chapel by her former boss, Bill. The movie then jumps from past to present to show how she goes about getting her revenge from the five who massacred her family and tried to kill her.
What is really amazing about this film is that Tarantino plays with different types of imagery. Overall the film is very violent and to almost censor the blood and gore he employs black and white imagery and cartoons. The cartoons are strong in conveying what is happening very well and at the same time prevent the need for actual people, stabbing and lots of blood. The same is done with the black and white imagery where the focus is more on what is happening than the blood being shed.
All in all this is an absolutely FANTASTIC film, cleverly done and with a brilliant soundtrack. Uma Thurman gives a cracking performance. Definitely one to watch.
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3 of 3 people found the following review helpful
5.0 out of 5 stars A Roaring Rampage of Revenge!, 7 April 2005
LJG Carson (Belfast, Northern Ireland) - See all my reviews
It's been a while since Jakie Browne, but Tarantino is back with his first of two revenge flicks "Kill Bill" and let me tell you something, they are HOT!
When a female assassin (Uma Thurman) decides its time to leave her profession, marry some guy and concieve her child outside a world of blood and massacre, her ex-lover and boss, Bill (David Carradine) takes the news badly and sets out, along with his band of assassins (Lucy Liu, Daryl Hannah, Vivica A. Foxx and Micheal Madsen) to put an end to the wedding and take care of The Bride once and for all. Refusing to die, The Bride rouses from a four year coma and begins to write up a death list for those who betrayed her.
This is pure Tarantino. Only he could blend genres of Spagetti Western, kung-fu, anime and japanese samuri flicks together to produce one of the best films released in 2003. There is never a dull moment in this movie. You will be gasping in all the rite places as Uma slices her way through "The Crazy 88", you will find yourself literally on the edge of your seat as you watch the tense showdown with O-Ren Ishii in eerie silence and you will be gagging to see the concluding chapter of the story. The cast deliver strong performances, wicked dialouge dripping in dark humour and many impressive stunts. The fast pace of the film is accompanied with a killer soundtrack that you will never forget. The only problem with the film, which is quite disappointing, is that is really all you get on the DVD, apart from a "making-of", trailers and two music videos of the
5,6,7,8s. Deleted scenes? Director's Cut? Hello?

A fantastic and thrilling movie which is definitely up there alongside the other Tarantino classics. A word of advice: Never deprive yourself of movies like this.
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3 of 3 people found the following review helpful
5.0 out of 5 stars Violent, cool, sick, stupid, fun., 1 May 2004
P. Woods (England) - See all my reviews
After six years after the boring Jackie Brown (in my opinion, sorry if you love it) Quentin Tarantino has resurrected something else. He resurrected John Travolta, now he has resurrected the 70s kung fu type of movies.
The action sequences in this film are really fun, but some of the sword fighting can be a bit stupid, you see arms and heads chopped off and showers of blood fires out from them. The sword battles are enjoyable to watch though.
I think this has quite a good cast, we have Quentin's favourite leading ladie Uma Thurman. We have Lucy Lui, who is an interesting character, and the film tells you about her childhood history. Sonny Chiba, Quentin's favourite martial artist has a short appearence, and we hear the voice of David Carradine, who plays Bill.
The film acts the same as "Pulp fiction" a bit, when it gets to a new bit it tells you the chapter on the screen, there is tons of fun dialogue, a lot in chinese too. Quentin also tries to make this film look like the 70s, he uses the classic music and films the scenes like them. He puts some scenes in b&w aswell. He uses a lot of interesting characters like The bride, Bill, woman with eye-patch, and the Texas sheriff, who was quite cool. This one isn't as violent as everyone says it is, it's gory, but not violent, and it comes to a brilliant climax that all of you should have seen on a trailer or something. Be warned: If you don't like annimation scenes, you might wanna watch out, there is a scene whioch tells you about the history of Lucy Lui's character, and it's an annimation sequence. Quentin has made a brillaint comeback after the failure of Jackie Brown. Can't wait for part 2.
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4 of 4 people found the following review helpful
5.0 out of 5 stars LUCY LIU REIGNS SUPREME, 30 Oct. 2004
i never liked lucy liu much before this movie, especially with her alleged treatment of bill murray (im a huge fan) in Charlies Angels
..but for me this movie is all about her, and i really think she steals the show. from the DVD menu upwards
all the best parts and lines in this movie involve lucy liu. from the hilarious 'Scharlie Brown' sequence, the fabulous cartoon story showing her history and progress as one of the worlds top female assassins (great rooftop sniper sequence), and of course the extra extra bloody gangland head splicing scene with eurovision contest style accompaniment
she plays the character tremendously well with poise and humour. and in my opinion she is the cornerstone of this movies greatness
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2 of 2 people found the following review helpful
4.0 out of 5 stars She'll kill Bill, 28 April 2008
E. A Solinas "ea_solinas" (MD USA) - See all my reviews
"Kill Bill" was either a disaster-in-the-making or a one of a kind hit -- a sprawling revenge flick that had to be cut in two and released separately. But director Quentin Tarantino serves up entertainingly mindless gore and twisted thrills in "Kill Bill Volume 1," a salute to homages.

Tragedy strikes the Bride (Uma Thurman) on her wedding day: The Deadly Viper Assassination Squad (DiVAS) attacks and slaughters the guests, the groom, and wounds the very pregnant Bride herself. Her former boss/lover Bill (David Carradine) finishes the bloodbath by shooting the Bride in the head. But despite his efforts, she isn't dead.

A few years later, the Bride wakes to find that she has been in a coma for a few years, and has been being used as a sex toy for rent. After recovering enough to move, the Bride gets a sword sharp enough to "cut God," and goes on a revenge spree against the people who wrecked her life and killed her baby, including Cottonmouth (Vivica A. Fox) and the deadly O-Ren Ishii (Lucy Liu).

Don't expect cinematic art in "Kill Bill Volume 1." If anything, this is cinematic pop art, a loving tribute to cheesy martial-arts flicks and westerns. Tarantino even inserts a stretch of anime detailing O-Ren's background. It's pure Tarantino, untainted by typical directing methods and immensely entertaining if you switch off your critical faculties, refrain from asking "How the heck could that happen?"

"Kill Bill" isn't for the weak of stomach; over 450 gallons of fake blood are used in both movies. But the blood usage is more "Monty Python" than "Braveheart"; it's so over-the-top that it's silly and sick rather than disturbing. So is the violence -- hacking dozens of people down without getting so much as a scrape is impossible, but it's sure fun to watch.

Tarantino throws out more one-liners than just about any other filmmaker around. The absurd "Trix is for kids" line aside, there are a number of great lines like "Those of you lucky enough to have your lives take them with you. However, leave the limbs you've lost. They belong to me now." The script teems with impossibilities, but they seem plausible enough in this alternate reality that Tarantino has cooked up. Call it Tarantinoland.

Uma Thurman, with her yellow tracksuit and katana, rules the screen as the Bride. Despite the Bride cutting down people by the dozen, it's impossible not to appreciate her. And the best supporting performances come from Liu as the ruthless O-Ren, Carradine in a brief but intense appearance, and the wonderful, underrated Chiaki Kuriyama as evil schoolgirl Go-Go Yubari.

It's silly, it's creepy, it's gaudy, and somehow it's vastly entertaining. Tarantino's special triumph in "Kill Bill Volume 1" is to somehow rope his vast store of movie homages into a gory, action-packed storyline, and one that is, at the very least, hard to forget.
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2 of 2 people found the following review helpful
4.0 out of 5 stars A dizzying collage of styles, textures and visual references, 7 Mar. 2008
Whereas Reservoir Dogs (1991) and Pulp Fiction (1994) took elements from the French New Wave and American independent cinema of the 1970's to create bold, iconic, character driven films rife with clever dialog, uncompromising violence and subtle allusions to a myriad of varied, textured film references, Kill Bill: Volumes 1 & 2 (2003-2004) take the idea of referencing even further, giving us blatant and literal references that cross from one genre to the next with a complete disregard for whether or not the audience is familiar with the kind of work being quoted. This technique is pushed even further in the subsequent Death Proof (2007), which really does require an audience to be familiar with its subject in order to get the most out of the style, set-up and intent. Here, all pretentions to the cinema of the French New Wave are dropped, as well as the more adult-orientated flavour of the previous Jackie Brown (1997), which was perhaps more in keeping with the aging spirit of the blacksploitation sub-genre of films from which it drew a superficial influence.

Instead, Kill Bill finds director Quentin Tarantino shifting his focus to Asian cinema and referencing sources as disparate as Kung-Fu (1972), Lone Wolf and Cub (1972), Lady Snowblood (1973), The Street Fighter (1974), Shogun Assassin (1980) and Ichi the Killer (2001), as well as taking direct influence from the Shaw Brothers studio productions of the 1960's and filmmakers like Kinji Fukasaku and Seijun Suzuki. Alongside these visual and thematic reference points we also have a continual reliance on juxtaposing ideas and iconography taken from spaghetti westerns, blacksploitation pictures, Chinese "wuxia" and kung fu movies, Japanese Manga and Anime, hip-hop, American exploitation and revenge cinema, and François Truffaut's The Bride Wore Black (1968). These influences are all combined, sometimes obviously and sometimes with more subtlety, but all used with flair, imagination and intelligence to create the right kind of cinematic environment for this purposely elaborate, over-the-top, comic-book-style tale of roaring rampage and revenge to play out against.

The opening shot is fantastic; rife with cinematic allusions to Sergio Leone's A Fistful of Dollars (1964) and Seijun Suzuki's Tokyo Drifter (1965), with the use of black and white cinematography and the image of the iconic "Bride" laid out on her back, bloody and bruised, pleading for her life with an off-screen Bill who is about to put a bullet in her head. From here we cut to the title and the near-iconic use of Nancy Sinatra's version of the Sony Bono track 'Bang, Bang', which is every bit as bold, amusing, cool and ironic as the use of opening music in Reservoir Dogs, Pulp Fiction and Death Proof. From here we cut back and forth in a non-linear progression to track the return and subsequent revenge of "The Bride" against the gang of devious former comrades who betrayed her.

As the film is split into two halves (for commercial reasons, as opposed to artistic; but regardless, tying in with the literary use of voice-over, chapter-heading, an unreliable narrator, etc) there will always be the question of how to critique the film. Do we view them as two separate films that should each deliver on the characteristics that we think cinema should pertain to, or do we view this as one long film; a continuation of a single character and theme over the course of two very different though ultimately linked feature films? If we take the former approach, then Volume 1 (2003) is the easiest film to appreciate on an immediate level, concerning itself more with scenes of balletic, visually rich and heavily choreographed action; relegating much of Tarantino's usual interplay of character and dialog to the background and allowing the visuals to completely envelope us. In this sense Tarantino is drawing on the B-cinema pop-art explosion of Suzuki, most notable in the sequence where "The Bride" takes on the Crazy-88's amidst a barrage ostentatious camera movements, lighting changes, black and white inter-cutting and bouncing Go-Go music from the 5, 6, 7, 8's.

There are also elements of over the top martial arts choreography juxtaposed against scenes of more brutal, harder-hitting violence, obvious miniature work that almost points to the original Godzilla films, retro use of rear-screen projection (much like Pulp Fiction), allusions to films as disparate as Twisted Nerve (1968), Hitchcock, Brian De Palma's elaborate use of split-screen, the production design from Gate of Flesh (1964) and Sex and Fury (1974), the casting of Chiaki Kuriyama (perhaps familiar to most audience from her appearances in Fukasaku's Battle Royale) and Bruce Lee's Game of Death (1978). Though these elements are impressive, particularly when coupled with the scenes of over-the-top violence (which nods to the exaggerated bloodshed of Anime and of films like the aforementioned Shogun Assassin and Ichi the Killer) and the technical virtuosity of Tarantino and cinematographer Robert Richardson, the effect can seem hollow; especially when we cross-reference this to the much more reserved, dialog-driven Volume 2 (2004).

With this in mind, it would seem more appropriate to view the films as one single film; taking into account both the bursts of colour and energy presented in Volume 1 and the slower, more character-driven approach of Volume 2 to really get the most out of the incredible journey that this larger than life character undertakes. It also allows us to better appreciate the extraordinary performance from Uma Thurman in the central role, who here gives one of the best performances of her career; instilling "The Bride" with a sense of honour and purpose that makes her violence and bloodshed all the more understandable. Kill Bill: Volume 1 doesn't quite scale the dizzying heights of Tarantino's first three films; lacking the intuitive style, unique dialog and intricate plotting - but it does represent a new phase of his career; one that pushes cinematic reference even further to create a visual tapestry of self-aware cinema that appeals to learned cineastes preoccupied with technique, as well as offering a bold story, memorable characters and a great sense of entertainment.
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2 of 2 people found the following review helpful
5.0 out of 5 stars Pretty Cool, 5 July 2006
There's no getting away from the fact that you either love Tarantino's films, or you hate them. As it goes, I happen to love them.

There has been some wide-spread criticism of this film in particular. I'm not quite sure why. As much as it doesn't quite compare to Reservoir Dogs or Pulp Fiction, it is still a masterpiece, and deserves much credit.

I know people feel that some of the scenes are slightly unrealistic; the fact that ol' Uma manages to fend off a never-ending flow of Japanese fighters, singlehandedly, may not be the most convincing of scenes, however, it's Tarantino. When have his films ever been customary?

If you want to enjoy this film, take it for what it is, and don't try to make it what it's not.

The fight scenes, whilst perhaps stretching reality at times, are wonderful and exciting to watch. Uma Thurman plays her character extremely well, and other performances are also top class. Some of the more violent scenes are not for the faint-hearted. The props department certainly didn't hold back on the fake blood.

I won't discuss the storyline too much as I don't wish to spoil it for those who haven't yet seen the film, but I really would reccommend giving it a go.

As for that infamous 'wiggle your big toe' scene, well, isn't that the sort of thing that makes Tarantino so original and so brilliant?

All in all a real corker of a film, exquisite and fresh , that should not be over-looked. Judge it for yourselves.

Here's to Tarantino, once again.
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2 of 2 people found the following review helpful
5.0 out of 5 stars Very violent, but very entertaining., 7 Jun. 2004
I'm happy to say that this film works just as well on DVD as it did at the cinema, perhaps more so as one can pause it occasionally during the foreign language sections rather than blinking and missing some dialogue.
The DVD transfer is superb and both sound and vision are crisp and clear (ie What you'd expect, but sadly not always what you get).
As with LOTR, it is difficult to assess this as a completed work. It clearly isn't and won't be until Vol2 has been released. However, as a first instalment it is a joy.
There are some typical Tarantino elements (the non-linear storytelling, the effective use of music) but Tarantino also stretches himself by taking on new challenges (the stunt and wire work and the anime sequence). The old stuff is as good as ever and the new stuff proves Tarantino is more than a one-trick pony.
Only the dialogue is below par. I suspect that Tarantino has altered the style of his dialogue to more closely resemble the Spaghetti westerns and Asian action/revenge movies that this film was inspired by, and they generally had lousy dialogue. Tarantinos is certainly better than that, but none the less a little stilted.
The action sequences, particularly the huge set piece in the House of the Blue Leaves, are really well choreographed and done more in the style of the 'Babycart' series of Lone Wolf and Cub movies than John Woo. There is little gun-play, but plenty of hand to hand and sword fighting with suitably bloody results.
It is a blessing then that a five minute sequence in the HoBL fight is in black and white as it makes the graphic and brutal details of the slaughter a little more cinematic/fantastical.
It is certainly a lot easier to watch than Ichi the Killer (say).
As a single film, Kill Bill Vol 1 probably isn't as good as Pulp Fiction, but is good enough as a first chapter to make you reserve judgement until after Vol 2 .
The DVD extras are nothing to write home about. The documentary is interesting enough but I doubt I'll ever look at it again. The trailers are kind of pointless given that one has the movies although it's obvious from at least one of them that the decision to split the film in two happened after the trailer was completed. There are no deleted or extended scenes and no commentary. Given that they're the extras I personally enjoy most, I was a little disappointed.
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2 of 2 people found the following review helpful
5.0 out of 5 stars You and I have unfinished business, 23 April 2004
By A Customer
One of the most accomplished filmmakers of the last 20 years has come upwith the goods once again. It's Kill Bill Vol. 1, in which Uma Thurman isat her sexiest and most deadly as The Bride, intent on revenge against herformer boss Bill and his gang of world-class assassins for killing herwould-be husband and everyone at her wedding. Kill Bill Vol. 1 is but halfof Quentin Tarantino's opus, and were I to sum it up with a long-winded,cliched summary... in fact, I think I will: it's a slashfest KungFu-obsessed revenge epic with more than a smattering of blood and adeceptively simple story. I'm sure there are better summaries than that,but it's certainly how I see this remarkable picture. The negative reviewsI've read of this film, by and large, lack insight and are lazily quick tocondemn the homage style, amongst other things. You get the impressionthat these people just don't like him because everyone else does, andthey're attempting to find some lame, "intelligent" excuse to hide thisarrogance from everyone. If you're not keen on the excessive violence Icompletely understand, but every other reason I've seen seems pathetic andshallow. There are those who've said it's completely un-Tarantino which ismindbogglingly ignorant, as not only does it contain all the stylistic andstructural features associated with the man (non-linear narrative -sublimely eclectic soundtrack - memorably black comic dialogue - andviolence ;-) ), but it's essential to consider a film in its own context,as a stand-alone piece of filmmaking, as opposed to other pics by the sameauteur. I was never obsessed with this being able to "measure up to PulpFiction", unlike the rest of the world; I wanted to see how GOOD a FILM itwas! Saying it's the work of a movie geek gone overboard on comic bookexcess is hypocritical and misses the entire point of filmmaking. Allgreat filmmakers pay homage to their heroes and influences in at least asubliminal way. Most film viewers love to spot obscure references (andless obscure ones) and Tarantino includes them at least partly for thatsense of audience gratification. As the purpose of films should be forentertainment, and as long as the film doesn't directly plagiariseanother, there is no excuse for saying this. It's no different to GeorgeLucas paying homage to Kurosawa in Star Wars! QT's masterfultongue-in-cheek approach to a genre he loves is in no way derivative ordisrespectful and he genuinely wants us to enjoy this nostalgic adventure.At the base of it all, a master storyteller has put together an incrediblemovie with breathtaking action sequences that easily equal those of Neoand Agent Smith(s) in The Matrix. He has proved incontrovertibly that hecan cross boundaries and genres and has stumped up a lavishly wonderfuland extravagant masterpiece that is very different, and no different atall, to the rest of his impressive canon. And I haven't even compared itwith its triumphant second half... Magnificent.
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Kill Bill: Volume 1 (Blu-ray)
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