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.
In Nazi-occupied France during World War II, a plan to assassinate Nazi leaders by a group of Jewish U.S. soldiers coincides with a theatre owner's vengeful plans for the same.
Two separate sets of voluptuous women are stalked at different times by a scarred stuntman who uses his "death proof" cars to execute his murderous plans.
Enjoying a peaceable existence in 1885, Doctor Emmet Brown is about to be killed by Buford "Mad Dog" Tannen. Marty McFly travels back in time to save his friend.
Director:
Robert Zemeckis
Stars:
Michael J. Fox,
Christopher Lloyd,
Mary Steenburgen
The murderous Bride is back and she is still continuing her vengeance quest against her ex-boss, Bill, and taking aim at Bill's younger brother Budd and Elle Driver, the only survivors from the squad of assassins who betrayed her four years earlier. It's all leading up to the ultimate confrontation with Bill, the Bride's former master and the man who ordered her execution! Written by
Anthony Pereyra {hypersonic91@yahoo.com}
Daryl Hannah (Elle Driver) owns the car - a 1980 Pontiac Trans-Am - her character drives in the film. However, she owns the one that was used for promotional shots because Michael Madsen (Budd) got the working Trans-Am before she got to it. See more »
Goofs
Outside the "little chapel in El Paso" at the Bride's wedding, there can clearly be seen a Joshua Tree. There are no Joshua Trees in Texas. See more »
Quotes
[first lines]
Bill:
Do you find me sadistic? 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. At this moment, this is me at my most masochistic.
The Bride:
Bill, it's your bab...
[BLAM!]
See more »
Crazy Credits
During the (second) end credits, as the names of actors in the Deadly Viper Assasination Squad roll by, a line is drawn through each like Black Mamba did on her "Death List 5" after she killed them. Daryl Hannah is one exception; she has a question mark drawn over her name. The other exception is David Carradine's name - his name appears after Uma's in this set of end credits but does NOT get crossed out. See more »
In my brief, initial review of 'Kill Bill Vol. 1.' I made the regrettable mistake of dismissing it as exceedingly pleasing yet unsubstantial stylistic masturbation, lacking the profundity and characterizations of Tarantino's previous works. Rarely have I been happier to be proven wrong.
What once seemed like somewhat incoherent cinematic recklessness has, after viewing the second part of Mr. Tarantino's saga, revealed itself to be wild, imaginative and brilliant filmmaking. As a whole, 'Kill Bill' is utterly unified (not despite but because of the radical shift in tone), possesses a strong, dramatic ark, and, above all, stands as quite possibly the most passionate, loving tribute to cinema I have ever seen. While part one pays homage to Brian De Palma, Dario Argento and the Shaw Brothers, part two cites, among many others, Jean-Luc Godard, Sergio Leone, and Robert Siodmark.
But that's far from all.
In his critical essay 'The Cinema of the Cool', Kevin Murphy suggests that Tarantino must move on and grow up to fully realize his potential as a filmmaker. In my opinion, with this piece, he has done so. Those merely seeking the blood-splattered, broken-bone action of Vol. 1 will be severely disappointed by Vol. 2, which is infinitely more thoughtful, pondering the nature of violence, both in cause and effect. While the action in the first installment was great, comic book fun, here it becomes severely unpleasant, cringe inducing, and never without consequence. If anything, it reminded me of the great Akira Kurosawa's work. Remarkable.
40 of 68 people found this review helpful.
Was this review helpful to you?
In my brief, initial review of 'Kill Bill Vol. 1.' I made the regrettable mistake of dismissing it as exceedingly pleasing yet unsubstantial stylistic masturbation, lacking the profundity and characterizations of Tarantino's previous works. Rarely have I been happier to be proven wrong.
What once seemed like somewhat incoherent cinematic recklessness has, after viewing the second part of Mr. Tarantino's saga, revealed itself to be wild, imaginative and brilliant filmmaking. As a whole, 'Kill Bill' is utterly unified (not despite but because of the radical shift in tone), possesses a strong, dramatic ark, and, above all, stands as quite possibly the most passionate, loving tribute to cinema I have ever seen. While part one pays homage to Brian De Palma, Dario Argento and the Shaw Brothers, part two cites, among many others, Jean-Luc Godard, Sergio Leone, and Robert Siodmark.
But that's far from all.
In his critical essay 'The Cinema of the Cool', Kevin Murphy suggests that Tarantino must move on and grow up to fully realize his potential as a filmmaker. In my opinion, with this piece, he has done so. Those merely seeking the blood-splattered, broken-bone action of Vol. 1 will be severely disappointed by Vol. 2, which is infinitely more thoughtful, pondering the nature of violence, both in cause and effect. While the action in the first installment was great, comic book fun, here it becomes severely unpleasant, cringe inducing, and never without consequence. If anything, it reminded me of the great Akira Kurosawa's work. Remarkable.