Chicks, swords, gore, and more!

Rating: 8/10 (15 June 2008)

I first saw the opening entry of the "Kill Bill" series theatrically, and under sour circumstances stemming from some personal problems. I was also in the midst of my own disillusionment with Quentin Tarantino (but more so his over-exposure and over-hype)a backlash had been in effect ever since the release of "Pulp Fiction," and the debacle of "Jackie Brown"though still heavily-praised by criticsdidn't help matters much. So, by the time "Kill Bill" came alongwith, again, the predictable amount of critical praiseI was ready to see if Tarantino could put his money where his big mouth is.
The verbose auteur announces that this is his "4th film," and immediately puts a sour tinge of smugness over the proceedings (though I feel the same way about the "From the Visionary Director of..." tag that pops up frequently these days)who does this guy think he is? I don't think directors of any caliber or experience would ever be so pretentious as to draw attention to their work as if it's the Holy Cinematic Grail all us anxious spectators have been anticipating for years. No matter how bombastic a director's ego may be behind-the-scenes, most have the simple modesty to let their work speak for itself.
And, factoring in my preexisting attitude, I was left less than impressed with "Kill Bill, Vol. 1." Granted, I had never been too keen on the Samurai-assassin/chopsockey potboilers Tarantino was directly quoting, but didn't think he did a very good job making the grindhouse aesthetic of the film accessible to the general viewing public (as he did with "Reservoir Dogs" and "Pulp Fiction" a decade earlier); in my view, his ode to Japanese-style swordplay and literal fountains of blood could only be relevant to the audience members who had already established their fanfare for that genre.
For whatever reason, I recently decided to give both volumes of "Kill Bill" another look. I've calmed down in regard to Tarantino's off-camera persona (especially now that QT crony Eli Roth is an easier whipping boy), and am surprised to report that I had a lot of fun with both films.
On its own terms, Vol. 1 toys with viewer expectations in a variety of waysTarantino lays out his tale in a very literary way, dividing the film into "chapters" that free up the chronological constraints, allowing surprise twists from future and past events to manifest at unexpected times. There is a sequence that chronicles one character's rise to the highest ranks of the Japanese Yakuza in hyper-violent anime style. The use of different color filters and black-and-white to emphasize a particularly brutal flashback are utilized to stunning effect. There is a fun nod to Brian De Palma early on (in which Daryl Hannahas one-eyed assassin Elle Driverdons a nurse's outfit to kill our heroine) which utilizes a split-screen. And genre buffs will enjoy the use of a key musical theme from Lucio Fulci's "The Psychic." Actors like David Carradine and Sonny Chibawho peaked in such similar fare back in the 1970sare given career-reviving roles here.
Amid all the homages, Tarantinorather than just slavishly imitating the works of otherssynthesizes the elements into a vision that is distinctly his own. There are passages of dialog that ring familiar of his style, clip, and rhythmbut unlike "Pulp Fiction," where conversation became a plot point unto itself, "Kill Bill" is far more interested in the storytelling aspect, and progresses with a masterful author's flair. One stunning setpiece (that owes much of its effect to Sally Menke's sharp editing) near the end of the first installment begins with a brilliant, several-minute tracking shot (echoes of De Palma and Scorsese) that lets loose into all-out pandemonium that goes on and on with irrepressible flair, a spectacle of superb framing and stunt work. And it's interesting how Vol. 1 seems to shoot its figurative load in the first installment, making viewers rightly wondereven after the last-second revelationwhere the latter half could possibly go.
As it turns out, Tarantino has more than a few tricks up his sleeve in crafting what could rightly be called his Masterpiece.
7.5 out of 10