Grimerlana Plenty to Like, Plenty to Dislike

Roman Sampson One of the most extraordinary films you will see this year. Take that as you want.

Kaelan Mccaffrey Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

Geraldine The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

peter_lantz I've heard about this movie from multiple people about being an amazing film. So I had some high expectations going into this film, especially since I liked Pulp Fiction so much. I kept waiting for this film to 'Wow' me, but it never happened and I found myself pretty bored throughout the movie. The issue with this film is the tone and the pacing. It kind of drags on in a way that eventually I stop caring and look forward to the movie being over. It also comes off as forced in a lot of ways, like they're trying too hard, it's hard to explain, maybe it has to do with the editing. It's a shame that I didn't like this film, I was hoping I would and honestly thought I would, given it has such high reviews.

finhammatt I thought it was a great film. The fight scenes and over dramatisation that are charictaistic of Quinton tarintino were done as always to a T. The characters and story making were also good as was the way they interacted ( the dialog). All that I felt brought the film down was the Music which didn't fit well in scenes and rewind the mood a great deal.

maraki-lost This film should definitely not be in the top 250 list. It was a nice film, time passed rather quickly, it was enjoyable but nothing more. I liked the casting, especially Uma Thurman as the Bride and the script was original and refreshing to see a female lead that is strong both physically and mentally. But all the gore, blood shooting out of hands like it's some kind of weird anime, the Bride basically airwalking in half the scenes, and her basically being ready for anything after her being in a coma for four years is nonsense. Furthermore, what's with all the black and white scenes? It seems Tarantino was trying to hard to impress everyone and make them talk about this film..I suppose I don't like Tarantino's directing style.Other than that, it's worth a shot if you like these kind of films, or Tarantino himself.

cinemajesty Movie Review: "Kill Bill Vol.1" (2003)Making no prisoners, director Quentin Tarantino returns after a six year break from directing with his fourth motion picture, distributed to the last by Bob & Harvey Weinstein run Hollywood Label "Miramax Films", the director and his leading lady actress Uma Thurman bring action thriller beats to the maximum, when "Kill Bill Vol.1" unfolds a revenge story of a woman left for dead after a bullet to her head from her lover as father-like mentor, the character of Bill, portrayed by match-making actor Keith Carradine (1936-2009), once leader of a "Death Squad", which then just betrayed one of their own.Supporting cast, which then build the Bride character's infamous "Death List" by the one-by-one confrontations are stunningly translated into visual film language by director/writer Quentin Tarantino, who centers each characters' background story, the resurrection of "The Bride" and a uniquely-received, highly-stylized as accurately-researched Japanese production design by Yohei Taneda in the razor-sharp, ultra-violent action sequence at a Tokyo restaurant that the MPAA (Motion Picture Association of America) needed to insist on some on-screen color corrections towards color-forces in blood-splashing reds turn suddenly black-and-white in an blink of an eye that furthermore only the "uncensored" Asian Market Version of "Kill Bill Vol.1", especially in Japan, came into the full splendor to watch actress Uma Thurman, in a Bruce "Enter The Dragon" Lee (1940-1973) homaging yellow-black training suit, fight presumingly eighty-eight yakuza opponents with a samurai sword.There is only left to lift the hat on director Quentin Tarantino's dedication for the original writing, well-researched source material that is just an amazing joy to watch "Kill Bill Vol.1" in its pitch-perfect as accelerated 105-Minute-Cut by Tarantino's editor of the first "Reservoir Dogs" minute Sally Menke (1953-2010), making utmost use of cinematographer Robert Richardson's excellent shot 35mm raw footage alongside a pumping musical score by RZA, member of the 1991 New York based band the "Wu-Tang Clan".Copyright 2018 Cinemajesty Entertainments LLC