Leaves you hanging but eager to see the final three names crossed of the list

Rating: 8/10 (16 March 2016)

Fans of Quentin Tarantino's unique brand of exploitation-cinema- worship were forced to wait six long years for his next movie after his underrated love-letter to blaxploitation, Jackie Brown (1997). The result was intended to be a 3 hour 'roaring rampage of revenge' but instead, thanks to the unenlightened head honchos at Miramax, Kill Bill became Kill Bill: Volume 1, a 110-minute half-movie that forced cinema-goers to pay again to see the following instalment four months later. Despite this money-making scheme that I'm sure Tarantino wanted no part of (he still refers to Kill Bill as one movie), Volume 1 is still quite brilliant.
Taking inspiration from the kung-fu and spaghetti western genre movies Tarantino no doubt indulged in during his time as a video store clerk (although Vol. 1 focuses mainly on the former), Kill Bill is, at times, a montage of shots, scenes and music from other movies from the 1970's. Yet Tarantino doesn't so much simply copy these films but play on our genre expectations while making it fun to test your own knowledge as a cinephile in the process. The tale is one of revenge, and a simple one at that. Tarantino has no qualms in staging Kill Bill as a one-by- one ticking-off of the bastards who wrongs our heroine, known simply as The Bride (Uma Thurman), who even carries a list of her targets and boldly strikes out their names as they fall.
A massacre at a wedding chapel instigated by Bill (David Carradine) and his Deadly Viper Assassination Squad sees everyone inside murdered apart from The Bride, who is shot in the head and put into a coma. Waking up four years later, she quickly sets about gaining her revenge on Bill and his four cronies - Vernita Green (Vivica A. Fox), O-Ren Ishii (Lucy Liu), Budd (Michael Madsen), and the one- eyed Elle Driver (Daryl Hannah). Travelling to Okinawa in Japan, she approaches legendary samurai sword-maker Hattori Hanzo (genre legend Sonny Chiba) and talks him out of her retirement to forge her weapon of death.
Told in chapter form, scenes are either extremely talky or outlandishly action-packed. The quieter moments bristle with Tarantino's now- iconic dialogue, while the extended climax, taking place in a two-floor restaurant that is quickly turned into a blood bath, displays the directors then-unseen eye for action. As The Bride takes on O-Ren's gang (dubbed the Crazy 88) and her Meteor hammer-wielding bodyguard Gogo (Chiaki Kuriyama) she hacks and slices her way through them all in a moment that evokes The Matrix Revolutions of the same year, only with real people and an eye for action cinema. Its all backed by another terrific Tarantino soundtrack that is routinely pillaged by TV shows too lazy to find their own music. The ending leaves you hanging without feeling ripped off, and eager to see the final three names crossed off the list.