`This moment, this is me at my most.masochistic.'

Rating: 10/10 (19 October 2003)

KILL BILL: Volume 1
From the opening titles we know we are in for something different. From the first line we know we are in for something special. From the first image we know we are in for something powerful.
Do we get it - HELL YEAH!
Quentin Tarantino has delivered to the screen a martial arts, tour-de-force, ultra-violent, cool-as-hell cinematic masterpiece. He has returned in fine form after 1997's blaxploitation flick 'Jackie Brown', giving us what is sure to be the most original film of the year - interesting considering he uses so many homages and retro references within the body of his work. Tarantino is master of his craft and he has proven this once again.
The plot is not overly-complicated: 'The Bride' (Thurman), massacred on her wedding day along with nine others, including her husband and a 'coloured organ player' (watch out for this reference as there's a great cameo in Vol. 2), awakes from a four year coma to reek revenge on those responsible - The Deadly Viper Assassination Squad (DiVAS) headed by the mysterious Bill. It is the way Tarantino takes this revenge plot and delivers it to us in non-sequential temporal order, with delicious turning points and mesmerisingly choreographed fight sequences that makes this a true work of art. This is definitely an exercise in style with a perfectly manipulated collage of techniques; including black & white, split screens, title screens, chapters, bleeping out a character's name, altering temporal order and an amazing anime sequence to deliver the back story of O-Ren Ishii (Liu).
Lucy Liu delivers possibly her best performance but it is Uma Thurman who is at the top her game - she owns this role. Even the supporting characters leave an impact and include cameos from Sonny Chiba (who I first realised Tarantino was a fan of when I saw the theatre scene in 'True Romance'), Michael Parkes (one of Tarantino's favourite actors - playing a role similar to that in 'From Dusk Till Dawn') and Michael Bowen from 'Jackie Brown' making an interesting appearance as Buck.
But it is not just Tarantino and the actors who excel, as Oscar winner Robert Richardson finds a nice balance of his and Quentin's style in the cinematography; some of the lighting is distinctly Richardson, some of the shots distinctly Tarantino. And this film is a visual feast; beautiful shots, exquisite sets and appropriate costume designs help digest the story - the final act in (and out of) the House of the Blue Leaves is perhaps the best example of the consummation of these filmic elements.
The final act especially, but not restricted to, also lets martial arts gurus, fan boys and film geeks have a field day with the various references to martial arts and pop culture. From costumes to characters, music, sets and opening titles, Tarantino manages to take elements that are familiar and make them feel fresh, unique and original - similar to what he did with the stories in 'Pulp Fiction'.
If I have one complaint about this movie it is that it is not long enough and you are left begging for Volume 2. Although, what would be the mid-act turning point at the end certainly has impact - a question posed by Bill that, if you have being paying attention has been answered. The trouble is now Tarantino has set the standard, Volume 2 is going to have even higher expectations - but at least this way he does get to show his complete story (in a brave move by Harvey 'Scissorhands' Weinstein). Not many directors would be allowed this privilege - but when you see it you'll know why.
This is not for everyone's taste - and if you thought 'Reservoir Dogs' was too graphic then perhaps you mightn't appreciate this - but personally I think it is the best film of the year. It is definitely the film to beat for originality, craftsmanship and pure entertainment.
`This moment, this is me at my most.masochistic.' (David Carridine as Bill)