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Kill Bill: Vol. 1 (2003)

 -  Action | Crime  -  10 October 2003 (USA)
8.2
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Ratings: 8.2/10 from 534,718 users   Metascore: 69/100
Reviews: 2,049 user | 343 critic | 43 from Metacritic.com

The Bride wakens from a four-year coma. The child she carried in her womb is gone. Now she must wreak vengeance on the team of assassins who betrayed her - a team she was once part of.

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, (character The Bride), 1 more credit »
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Top 250 #167 | Nominated for 1 Golden Globe. Another 21 wins & 58 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Hattori Hanzo (as Sonny Chiba)
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Johnny Mo (as Gordon Liu)
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Jun Kunimura ...
Kenji Ohba ...
Bald Guy (Sushi Shop) (as Kenji Oba)
Yuki Kazamatsuri ...
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Storyline

The lead character, called 'The Bride,' was a member of the Deadly Viper Assassination Squad, led by her lover 'Bill.' Upon realizing she was pregnant with Bill's child, 'The Bride' decided to escape her life as a killer. She fled to Texas, met a young man, who, on the day of their wedding rehearsal was gunned down by an angry and jealous Bill (with the assistance of the Deadly Viper Assassination Squad). Four years later, 'The Bride' wakes from a coma, and discovers her baby is gone. She, then, decides to seek revenge upon the five people who destroyed her life and killed her baby. The saga of Kill Bill Volume I begins. Written by JD

Plot Summary | Plot Synopsis

Plot Keywords:

bride | revenge | coma | wedding | sword | See more »

Taglines:

On October 10th...a Quest for Revenge begins See more »

Genres:

Action | Crime

Motion Picture Rating (MPAA)

Rated R for strong bloody violence, language and some sexual content | See all certifications »

Parents Guide:

 »
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Details

Official Sites:

| |  »

Country:

Language:

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Release Date:

10 October 2003 (USA)  »

Also Known As:

Kill Bill  »

Box Office

Budget:

$30,000,000 (estimated)

Opening Weekend:

$1,667,853 (Spain) (5 March 2004)

Gross:

$70,098,138 (USA) (21 May 2004)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

| |

Aspect Ratio:

2.35 : 1
See  »
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Did You Know?

Trivia

The closing title card, "Based on the character of 'The Bride' created by Q and U", refers to the first initials of Quentin Tarantino and Uma Thurman. See more »

Goofs

At The House of Blue Leaves, when O-Ren suspects someone outside her private room, she throws a dart that sticks in a beam narrowly missing The Bride. When Go-Go goes to check things out, the dart is sticking in the beam in a downward angle when in the previous shot it was straight on. Also, considering O-Ren was seated and that the dart flew by the Bride at eye level, it would have been more conceivable for the dart to hit the beam at an upward angle, not downward. See more »

Quotes

[first lines]
Bill: Do you find me sadistic? You know, I bet I could fry an egg on your head right now, if I wanted to. You know, Kiddo, I'd like to believe that you're aware enough even now to know that there's nothing sadistic in my actions. Well, maybe towards those other... jokers, but not you. No Kiddo, at this moment, this is me at my most...
[cocks pistol]
Bill: masochistic.
The Bride: Bill... it's your baby...
[BLAM!]
See more »

Crazy Credits

Shin'ichi Chiba (Hattori Hanzo) is listed as the samurai sword advisor. He played a maker of samurai swords in the film. See more »

Connections

Featured in Anime Abandon: Kite (2012) See more »

Soundtracks

Woo Hoo
Written by George Donald McGraw
Performed by The 5.6.7.8's
Courtesy of Time Bomb Records, Japan; Sympathy for the Record Industry, U.S.
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

An adrenaline-driven coaster-ride through gratingly bold and captivating martial-arts extravaganza.
9 October 2003 | by (Washington, DC) – See all my reviews

Sure it's outlandishly violent and bloody. Can anyone expect Tarantino's movie not to be a true mind-blowing, adrenaline-pumping shocker? Of course not! Gritty and slick, his first installment of KB rocks with moody western imagery, the '60s and '70s-era of Hong Kong martial arts-action, the influences of the ritualistic samurai swordsmanship, and Japanese anime. Like in all his films, Tarantino never fails to merge dark humor with terror. It's impossible not to smile over the Shaw Bros.' iconic introduction ploy and the De Palma-esque split screens. Observe the `Carrie' blank-starry eyed image settled on The Bride's gory face as she's introduced to the audience. Perhaps, Uma Thurman in her yellow suit is a salute to the yellow-suited Bruce Lee in his last film, The Game of Death. Or is The Bride 'Just another little Western girl playing at being a samurai' - as O-Ren Ishii blatantly puts it?

This film's a sampling of the Tarantino 'fury,' short of the Tarantino customary fiery tongue. It celebrates the Tarantino trademark of avoiding the use of computer-generated CGI special effects. It's almost as if I'm watching a colorful and bloodied kabuki stage that's displaying a stunningly massive tournament of multi-layered kung-fu and female samura sword-fighting styles to dazzle the audience. It's examining how Tarantino catalogues the great stylistic elements of his favorite 'old-school' filmmakers and transforms them into a phenomenally creative and mesmerizing film. Yep, there's a great deal of captivatingly artistic boldness in this film. Powerfully portrayed and not to be easily forgotten. Violently brutal and gloriously gory without doubt, and yet so aesthetically operatic and astoundingly artful. The music and lyrics that accompany the scenes are astounding. They set the moods so appropriately with the events.

Even at 'The House Of Blue Leaves', we get to see Tarantino weaving the artistic styles of Lucio Fulci, Chang-Che, Sergio Leone, Kurosawa, Zhang Yimou and Busby Berkeley to bring the audience a stylistic exhibit of remarkable montage grandeur. The themes of betrayal and revenge come off strong. Every camera shot and scene seems to scream out, non-stop, `Kill Bill and all of Bill's DVAS members.' My adrenaline's still flowing as I'm recalling the scenes. Tarantino has make a solid point with this film to show that martial arts scenes should stick to the artful and realistic choreographic treatment to sustain the true spiritual spirit of martial arts. A+


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