Director:
Quentin TarantinoGuión:
Quentin TarantinoCámara:
Robert RichardsonMúsica:
RZAReparto:
Uma Thurman, Lucy Liu, Vivica A. Fox, Daryl Hannah, David Carradine, Michael Madsen, Julie Dreyfus, Chiaki Kuriyama, Sonny Chiba, Chia-Hui Liu, Michael Parks (más)Sinopsis(1)
Bill dirige a un grupo de asesinas de élite conocido como escuadrón Asesino Vívora Letal. La más peligrosa de todas, Black Mamba, es traicionada por su jefe y compañeras el día de su boda. Estos irrumpen en la ceremonia dejándola en coma por un disparo en la cabeza y matando a todos los asistentes. Cuatro años después, despierta en un hospital dándose cuenta entonces de lo que ha ocurrido y de que ha perdido al bebé que esperaba. A partir de ese momento iniciará una sangrienta venganza contra todos los que la traicionaron. (Buena Vista International Spain)
(más)Reseñas (13)
The last time I met Bill was about twenty years ago. Since then, time has taken its cruel toll on me and David Carradine. I gave this film five stars back in the day, and I'd happily give it five stars again today because I enjoyed all those gory action scenes (yes, including the animated ones) and the cheesy clichés that Tarantino deliberately used in the film (with glee, I’m sure). I was even willing to get over all those many logic holes except for one. The waking up from a four-year coma was a bit too much for me. I guess I take it personally, but I just couldn’t get over that bullshit. I was only dead for four days, spent the next month staring intensely at the ceiling, and when they finally managed to sit me up after that relatively short period of time, I found that the speed of the earth's rotation had dramatically increased, so I had to be propped up to keep from collapsing. And then it took ten days of practice before my useless rubber limbs started resembling legs again. So, all that nonsense about just thirteen hours after four years made me take one star off my rating. Otherwise, the film was a standard Tarantino wackiness (just the way I like it) as in: a lot of severed body parts, oodles of blood (black and white, animated, and regular), and a bunch of over-the-top nonsense (the kind that I didn’t mind). I was just surprised by how light on dialogue it was. / Lesson learned: Enjoy life.
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Un fashion-junkie puramente visual y acústico con una paleta de estados de ánimo que cambia de color. Pero es erróneo evaluarlo de forma aislada. La primera mitad es un poco sosa, mientras que la segunda no me dejaba respirar. En teoría, en la línea de la segunda parte debería empezar la secuela Volumen 2. Cuando empiece, tengo mucha curiosidad por ver cuál será el clímax de todo el espectáculo. Si realmente viene más gradación, el conjunto de tres horas podría resultar ser una obra brillante. Creo que eso va a pasar. Y me hago la pregunta clave: ¿Es posible que un tema tan sencillo se convierta en una sesión de cine tan espectacular y genial?
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Como la película muestra en primeros minutos, es la quarta obra del director Quentin Tarantino. Es una letra de amor al absurdo de las series de acción y por lo tanto resulta muy cómica. El humor no consiste en chistes y bromas sino en la hiperbolización. Se ve más una parodía, que algo serio. Dicho esto, no le falta suspense. La historia sigue el personaje de Uma Thurman que sufre golpes peores que su flequillo. El motivo detrás de la protagonista es la venganza. El título de la película ya muestra el objetivo principal de la histora. Aquí veo el único negativo de la obra, no se consigue todo en una película y hay que buscar y ver Volumen 2 para explicar el resto. Por otro lado los personajes y sus relaciones son tan entretenientes, que no me importaría ver 10 horas de esto.
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Forget about seeing just another Tarantino flick. There’s none of his typical catchphrases, nor a plethora of absurd situations. One of the few echoes of his first two films is the absurd scene in the hospital when "Buck comes to fuck" and then his favourite ordering of the plot into chapters. At times I was emotionally moved, at times I was thinking, "Is he being serious? We're supposed to buy this?" But I didn't move a muscle the whole time I was sitting in my chair. There are scenes with a very magical atmosphere, especially the final duel with in the snowy Japanese garden, with Lucy Liu in a white dress and slippers, falling snowflakes and contrasting with Uma Thurman's yellow suit, all beautifully lit and the interesting sound of a water pump. Or for example the moment when during one of the fights the background suddenly changes to a blue screen with black frames, with only the silhouettes of the fighters in front of it is very impressive. Kill Bill has so many audio-visual sensations that the hour and a half was more than enough. The plot may be shallow (the final sentence made me feel like I was hearing a snippet from a soap opera), but form overwhelmingly wins over content. Tarantino managed to turn a well-trodden genre and not very original premise into a very impressive spectacle. We'll see with Volume 2 if it holds up. PS: This film must be watched in widescreen! It loses a lot with the TV crop.
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The positives are clear: it's nice and colorful, it's got a good camera and nice hit music. It also has a "cool" pulp aesthetic. That's what pets like, right? And it's sweet postmodern “shit". A beautiful video clip. Great craft, Quentin is good at that. As well as magnificent boredom and the best filmed vacuum I can imagine. Pulp Fiction may have been silly, but at least it had something inside. Kill Bill is only able to pile up clip sequences and obscure the absolute lack of narrative dynamics with subtitled chapters, nice manga sequences, and a stylish (and utterly self-serving) narrative multi-voice. Dear Quentin, I thought I didn't like you, but Kill Bill brings a whole new intensity to our relationship. And Uma is quite pretty... It's a good thing you and I have something to talk about, man. Bleh!
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A cool rip-off of Shogun Assassin with references to a couple dozen other films. One big stylistic exercise, which in the shadow of the brilliant Volume II completely loses its meaning and unnecessarily takes away from the credit of the whole. ♫ OST song rating: 4/5
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Several years after the fading of unbearable hype, Kill Bill is still a spectacle that has no equal in the realm of multi-genre action. Despite Tarantino being somewhat annoying from a media standpoint during this period, his sense of revenge's tempo, the soundtrack, and the supporting characters were almost perfect. And when Hattori Hanzo appears and I swallow all previous prejudices, there is nothing left but to give it five stars.
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I really like older Tarantino films, and even though they are in genres that I don't particularly enjoy, Tarantino managed to direct them creatively and with added value, which every film fan must appreciate. Whether it was Reservoir Dogs, Pulp Fiction, or Jackie Brown, I always found something that enriched me. Kill Bill marked the beginning of the era of Tarantino films without added value, which may fascinate genre fans with their "purity," but I completely avoid them. Kill Bill pays homage to East Asian action films, which is something that doesn't appeal to me at all. The characters lack even minimal depth, and there's no need to talk about the screenplay. It is completely empty, purposeless nonsense, lacking emotions and character psychology. I would add that it has decent camera work and music, for which it deserves one star from me. Overall impression 25%.
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There is a certain dose of exaggeration and typically Tarantino humor that the viewer must embrace right from the beginning, otherwise the film be a lousy experience. Tarantino is firmly in control and directs the way he wants, which is, of course, evident in the result. The whole film carries an excellent atmosphere, enhanced by perfectly tuned exteriors and brilliantly interwoven music. Kill Bill fulfills all the film elements to the fullest but it may happen that a more conservatively inclined viewer won’t find their way to it and will not like it. It was also very interesting to see Uma Thurman, who underwent intense training for this role and it is truly visible. Tarantino plays with visual composition, constructs dialogues well, and overall the film is more captivating with a plethora of references and clever tricks, rather than a basic message as such, which is truly simple.
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Kill Bill must be seen in its entirety – as soon as the first film is over, watch the second. Otherwise, you will compare and find that Vol. 1 is an average action flick, while Vol. 2 is excellent.
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If there’s one film that loudly argues that Quentin Tarantino is an even better director than screenwriter, that would be Kill BillVol. 1. It’s an INCREDIBLY well shot series of micro-stories, whose grouping and method of (in)closure may be questionable, but every second fully reflects the inexhaustible genius of one anointed filmmaker. Unfortunately, Quentin uses his supporting actors as surprisingly passive pawns on a journey through East Asian cinematic attractions, and he often blatantly revels in his own audiovisual perfection, but it’s impossible not to love it. The film is one big goosebumps fest, caused by the unearthly staging of the action accompanied by one amazing track after another (although the final fight, for example, loses its impact quickly, mainly due to the annoying black-and-white composition), and the subjective length is somewhere around 80 minutes. It's a kind of unpretentious treat that is simply a joy to watch, even though it doesn't have that much to do with the sequel and works more like porn for geeks than a starter of a complex and layered story. 80%
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I can't help but think this is still one of the best films I've ever seen. For the umpteenth time. When someone asks what my favorite movie is, Kill Bill comes to mind first. I'm not sure if it's true, but this mix of kung fu movies with modern action, violence, dark humor, eccentricity, and absolutely great characters is a guarantee that I will simply always enjoy it. I love B-movie productions, and this is definitely the best A-grade B-movie I've ever seen. And when I say this, I actually mean both films, because they both have something special about them. And so, whereas I didn't fully appreciate the animated sequence during the first viewing, now I'm thoroughly enjoying it. Tarantino is simply my all-time favorite, and that hasn't changed over the years.
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I won't deny it when I say that Quentin Tarantino is my favorite director. That's also why my reviews may not always be objective, but you know the drill: when you like someone/something terribly, you simply don't like accepting the fact that not everything about that someone/something is perfect after all, and at the very least you will always find a few flaws. Fine, you probably won’t find any flaws or extraneous elements, but I won't look for any. Quentin does his best work here, mixing action, suspense, and parody with classic Japanese martial arts, and you can really feel how "Tarantino-esque" (in the best sense of the word) the film is. I really don't know what to highlight first, whether the phenomenal direction, the amazing Uma Thurman and the rest of the cast, the overall concept as seeming parody yet still absolutely awesome, the phenomenal soundtrack, the fight scenes... Q.T. must have had a great time filming this because he could transfer his perversions and above all his undeniable filmmaking talent (which was already evident in Reservoir Dogs) into the absolutely ultimate 4 hours of the entire Kill Bill series. I could see the director nodding his head and smiling wryly during the scene when Uma is lying on the floor and cutting off the legs of the "Crazy 88" with her sword. :) My rating and review apply to both films together, so to be clear: Kill Bill: Vol.1 – 100% Kill Bill: Vol. 2 – 105%. My favorite Tarantino "saga" along with Pulp Fiction, though Jackie Brown, Death Proof, and Reservoir Dogs are still significantly above average.
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