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Film Description
Tarantino's homage to grindhouse cinema, Kill Bill, sees Uma Thurman star as The Bride, a woman out for revenge in a banana yellow catsuit and with a samurai sword.
Thurman is one-fifth of a team of assassins, but when she decides to get married and leave the outfit her boss, Bill (David Carradine), gets her former colleagues to show up at the wedding, leaving a blood bath behind them and The Bride shot in the head. Four years later, she sets out on a journey of revenge whose ultimate destination is her former boss. Bloody, messy and wonderfully stylish pulp.
Taking inspiration from a wealth of cinematic influences, from Ringo Lam’s City on Fire to the films of Jean-Luc Godard, Tarantino’s Reservoir Dogs, Pulp Fiction and J... more >
Taking inspiration from a wealth of cinematic influences, from Ringo Lam’s City on Fire to the films of Jean-Luc Godard, Tarantino’s Reservoir Dogs, Pulp Fiction and Jackie Brown were three of the most vibrant movies of the 1990s. Now in Kill Bill, his first film in six years, Quentin Tarantino continues to wear those influences proudly on his sleeve. Embracing low budget “Grindhouse” obscurities from Martial Arts, Spaghetti Westerns, Blaxploitation and rape-revenge genres he has created a film that any Tarantino character would adore.
With a shattering gunshot, The Bride (Uma Thurman) is left for dead. Massacred on her wedding day by her treacherous former allies - the eponymous Bill and his Deadly Viper Assassination Squad. Waking from a coma 4 years later, The Bride plots her bloody revenge - and bloody it is.
The sheer amount of blood and dismemberment may be shocking at first - a superb anime flashback is one of the most gushingly violent sequences I have ever seen. However the comic exaggeration of most of the violence means that it rarely reaches the brutal realism of Reservoir Dogs. This is a film where everyone walks to the beat of their own ultra-hip soundtrack and the exhilarating fight scenes flick from vivid technicolour to black and white with the swish of a samurai sword.
Everything from The Bride’s Game of Death jumpsuit to the Green Hornet masks of the “Crazy 88 gang” is a glorious homage and we are even treated to sly reminders of previous Tarantino films.
Although the memorable dialogue so crucial to those films is sparse - apparently more prevalent in Volume 2 – Kill Bill’s non-linear plot with its flashbacks and fiendish name-bleeping mean that this is a brilliant cinematic page-turner. And even if the title suggests that the end is a forgone conclusion, Volume One delivers a monumental cliff-hanger that will leave you gasping for more.
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