DVD Movie Rating for: Kill Bill Volume 1

Rating 3 out of 5 stars

Movie Plot of: Kill Bill Volume 1

The Bride (Uma Thurman) was once a top member of the Deadly Viper Assassination Squad. And then, one day, she decided to leave the business, assume a new identity, and get married. But it was on the day of her marriage that her old "friends," O-Ren Ishii (Lucy Liu), Elle Driver (Darryl Hannah), Budd (Michael Madsen), and Vernita Green (Vivica A. Fox), not to mention her boss, Bill (David Carradine), showed up out of the blue. They assassinate the entire ceremony and Bill shoots the Bride in the head, putting her in a coma. Well, Bill and his people should have tried a little harder, because after four years, the Bride has awakened from her coma. And Hell hath no fury like a woman scorned.

DVD Production Details of: Kill Bill Volume 1

Starring: Uma Thurman, Lucy Liu

Director: Quentin Tarantino

Format: Color

Studio: Miramax
DVD Release Date: April 13, 2004
DVD Features:
"The Making of Kill Bill, Volume 1"

Bonus musical performances by The 5,6,7,8s

Quentin Tarantino trailers including Kill Bill, Volume 2

Widescreen anamorphic format

DVD Easter Eggs

None

Cast of the movie: Kill Bill Volume 1

• Uma Thurman .... The Bride (Black Mamba)
• Lucy Liu .... O-Ren Ishii (Cottonmouth)
• Vivica A. Fox .... Vernita Green (Copperhead)
• Daryl Hannah .... Elle Driver (California Mountain Snake)
• David Carradine .... Bill
• Michael Madsen .... Budd (Sidewinder)
• Julie Dreyfus .... Sofie Fatale
• Chiaki Kuriyama .... Gogo Yubari
• Sonny Chiba .... Hattori Hanzo
• Chia Hui Liu .... Johnny Mo (as Gordon Liu)
• Michael Parks .... Earl McGraw
• Michael Bowen .... Buck
• Jun Kunimura .... Boss Tanaka
• Kenji Ohba .... Bald Guy (Sushi Shop) (as Kenji Oba)
• Yuki Kazamatsuri .... Proprietor
• James Parks .... Edgar McGraw
• Sakichi Satô .... Charlie Brown
• Jonathan Loughran .... Trucker
• Yoshiyuki Morishita .... Tokyo Business Man
• Tetsuro Shimaguchi .... Crazy 88 #1 (Miki)
• Kazuki Kitamura .... Crazy 88 #2
• Yoji Tanaka .... Crazy 88 #3 (as Yoji Boba Tanaka)
• Issei Takahashi .... Crazy 88 #4
• Satoshi Yamanaka .... Crazy 88 #5 (as So Yamanaka)
• Julie Manase .... Crazy 88 #6 (Girl) (as Juri Manase)
• Akaji Maro .... Boss Ozawah
• Goro Daimon .... Boss Honda
• Shun Sugata .... Boss Benta
• Zhang Jin Zhan .... Boss Orgami
• Xiaohui Hu .... Young 88 (Spanked Boy)
• Ambrosia Kelley .... Nikki Bell
• Sachiko Fujii .... The 5.6.7.8's
• Yoshiko Yamaguchi .... The 5.6.7.8's
• Ronnie Yoshiko Fujiyama .... The 5.6.7.8's
• Ai Maeda .... O-Ren (anime sequence) (voice)
• Shu Lan Tuan .... Okinawa Airline Ticket Agent
• Naoki Kusumi .... Boss Matsumoto (anime sequence) (voice) (as Naomi Kusumi)
• Hikaru Midorikawa .... Pretty Riki (anime sequence) (voice)
• Michael Jai White .... Alburt (scenes deleted)
• Larry Bishop .... Larry (uncredited)
• Michael Kuroiwa .... Crazy 88 Fighter (uncredited)
• Christopher Allen Nelson .... The Groom (uncredited)
• Stevo Polyi .... Tim (uncredited)

Photo Gallery of the movie: Kill Bill Volume 1

Click on one of the thumbnails to see the full size, high resolution photographs and wallpapers of Kill Bill Volume 1

Kill Bill Volume 1 - Uma Thurman, Lucy Liu, Vivica A. Fox, Daryl Hannah, David Carradine, Sonny Chiba (2003)

Kill Bill Vol 1 Movie Posters

Reviews of the movie: Kill Bill Volume 1

Kill Bill continues the great tradition of great movies directed by the legendary Quentin Tarantino. And like Pulp Fiction, Kill Bill is overdone, glamourous, and is a terrific, violent, convoluted film! Kill Bill seems like it is a bit too simple of a plot for Tarantino. A female assassin is betrayed, nearly killed, and four years later, she is out to seek revenge against her former compatriots, and the people who put her through hell. The big thing that I couldn't figure out was whether it was supposed to be a witty, sarcastic film with lots and lots of blood, or if it was supposed to be a dark, gritty film with lotts and lots of blood. I decided that it was a little bit of both. After all, Tarantino did direct it, and in his world, nothing is what it seems. As I said earlier, the film is quite convoluted and full of surprises, at least for an action film. Kill Bill is a daring film, and it draws in elements from many different films. For example, if you pay close attention, any fan will realize that the beginning of the film is similar to 60's karate films. Above everything else, Kill Bill is sheer fun and a great movie to see. It is very artistic as well. For example, the movie incorporates black and white, anime, and regular color presentation in one sequence. And it is hard to believe that a movie with this much blood can be artistic, but believe me, it is! It is the best movie to come out this year, and kicks off a great fall season of films after a lackluster summer. Kill Bill is colorful, and almost groovy in some ways. Think Austin Powers with suffering and gore, and you'll get the picture. Uma Thurman does a gritty but excellent job in this film, and Lucy Liu manages to shake off some of her Charlie's Angels reputation that classified her as a poor actress. Kill Bill is a stylized, colorful, gritty, elemental movie, and anyone with a strong stomach should definitely see it.

The title of the comment is from the ersatz master who makes a new sword for our avenger. This denotes what is wrong about this film, indeed why Tarantino is to film as Brittany Spears is to music.

Martial arts are about generational wisdom, about the rigidity of the masters all the way back empowering new freedom all the way forward. When a fight occurs, it is not the weapons that are in combat, not even the combatants: it is the respective masters who operate through time and space. Ang Lee understood this when he made his film, one that could reliably called an homage.

This is something else, wholly Americanized. Here we have a setup that is from cold war 60's culture, a themed assassination squad. The focus is on the individual. When Uma's character fights, it is in the Eastwood/Segal tradition. This is Yankee individualism filtered through episodic TeeVee and only then cloaked in B-movie style.

For all this to work, we have to have a God. Can be the noir god of detached fate; can be the Hitchcock/dePalma god of the camera; can be the Lynch god of the filmmaker's angst; can be the Leone god of irony, or the Fellini god of parallel dreams, or Medem of animated orgasm, or Bergman of the Judge. Our man Q wants them all, and has to cut each of them to make room for the others. He is not clean and focused like Kurosawa, but jumbled like Rob Zombie.

`Once Upon a Time in Mexico' has identical aspirations, but Rodriguez steeps us in something he actually knows, leverages an actor that actually understands irony (not some second rater; remember Mrs Peel and Poison Ivy?), clearly identifies his god/ observer (Depp), and does it all himself: writing, directing, shooting, editing, composing. In comparison, Quentin is a novice and this is a dim conversation in a lonely corner of an effete Hollywood party.

As in all of life, there are two kinds of people in film. I'll call them engineers and scientists. Engineers work with known vocabularies and principles. They take insights of others and tinker about with different combinations to accomplish certain practical goals. There is an imagination of sorts, but it extends only so far as understanding the storehouse of components supplied by others.

The scientists go where no one else has ever gone, into the void and bring back new reality that they convince us to accept. Which of these you choose for your life in film could determine everything about you, because you live in your imagination. Compare `Ghost Dog' (or even `Pillow Book') to `Kill Bill.' Both are about themselves, cast in terms of what went before. One is subtle, even elusive in its truths. Possibly, it is only one of many stories it is about as the little girl within it reads. The other, `Bill' is already chewed for you. Brittany Spears. They even use the same musician as composer. One is subtle and rich, the other a jukebox.

Kurosawa is a scientist; Tarantino a shopkeeper, and that brings me to my final point. Quentin does have terrific storytelling skills. But look at how they are used. All of his attention goes to explaining what happened before, including the trademarked

timefolds. This is very well done and completely comprehendible. But good storytelling, the really good stuff, is about what happens NEXT. See any of that here?