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.
Based on the true story of Jordan Belfort, from his rise to a wealthy stock-broker living the high life to his fall involving crime, corruption and the federal government.
Director:
Martin Scorsese
Stars:
Leonardo DiCaprio,
Jonah Hill,
Margot Robbie
A seasoned FBI agent pursues Frank Abagnale Jr. who, before his 19th birthday, successfully forged millions of dollars' worth of checks while posing as a Pan Am pilot, a doctor, and a legal prosecutor.
Director:
Steven Spielberg
Stars:
Leonardo DiCaprio,
Tom Hanks,
Christopher Walken
A young F.B.I. cadet must receive the help of an incarcerated and manipulative cannibal killer to help catch another serial killer, a madman who skins his victims.
Director:
Jonathan Demme
Stars:
Jodie Foster,
Anthony Hopkins,
Lawrence A. Bonney
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
The Japanese symbols on the background of the poster spell "kirubiru" which is the Japanese spelling for "Kill Bill". See more »
Goofs
When The Bride and O-Ren Ishii are fighting in the courtyard in the House of Blue Leaves, The Bride suffers a serious cut to the back and falls to the ground. Even though the close shot of her wound shows heavy blood loss, when The Bride stands back up in the next wide shot, there is no evidence of blood in the snow anywhere in the area. 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
In the end credits the bride stunt double is listed twice See more »
Alternate Versions
The Japanese cut, while only a little over a minute longer than the US cut, features not only a full color version of the "House of Blue Leaves" fight, but some quick new shots in the anime scenes as well as some alternate footage, most cut/altered to avoid an NC-17 rating:
The opening scene between The Bride and Vernita Green has two alternate angles shown when The Bride asks for a towel instead of keeping the overhead shot.
In the anime sequence, one of Boss Matsumoto's men has his face smashed into a wall twice, rather then just once.
In the anime sequence, when O-Ren Ishii kills Matsumoto and tells him to look at her face, she asks him to look at more facial features (nose, chin. etc.) to be recognized, and then before pulling the knife out, there is a close up shot of her moving the knife up his stomach and then finally pulling it out. There are a couple of close up shots of Matsumoto's face as he's dying as well that were eliminated from the US print and then a pan up shot of Matsumoto's blood covered and disemboweled body.
The "House of Blue Leaves" fight is not only in full color, but features about 9 new shots missing from the US print which include:
A close up of the first female Crazy 88 (Julie Manase) gargling blood after being pinned to a wooden pillar by a sword. This shot, while cut from the US version of Vol 1, showed up in the end credits of the US cut of Vol 2.
A shot of The Bride stabbing two Crazy 88s at once using her own sword as well as another Crazy 88's sword.
A ten foot high super backflip that The Bride executes before landing back down to pop out one of the Crazy 88's eyes. This shot appeared in the TV spot teaser, but disappeared soon after.
After The Bride pops out the one Crazy 88's eye, as another one charges at her screaming, she simply throws the eye into the attackers mouth, causing him to start to choke. The partially armless Sofie Fatale gives a follow up disgusted reaction.
A shot of another female Crazy 88 attacking only to get slashed in the throat and spraying blood everywhere.
The first appearance of the "Kid Crazy 88" (the one who gets spanked with the sword). In this shot, we now find out why he's missing a mask later on. As he's about to attack The Bride, she swipes his mask off. We see he's just a kid, and he gives the universal "don't hurt me" sign. The Bride has a look of shock on her face in realizing he's just a kid, so she grabs him, throws him across, knocking 3-4 Crazy 88 into a blood filled mini pool. This shot of the 3-4 falling, while cut from the US version of Vol 1, also showed up in the end credits of the US cut of Vol 2. Overall, this "mini scene" helps establish The Bride's look of surprise even more when she sees the young Crazy 88 the last time... and his follow up "don't hurt me" look even funnier.
A shot of a Crazy 88 getting slashed across the chest and spraying blood all over a wall.
When The Bride jumps onto the shoulders of one of the Crazy 88, after she slashes another one across the face, the Crazy 88 she's standing on tries to attack her from below. She parries the attack and cuts his hands off. The shot then cuts to the forward sommersault.
Since the fight is already in color, the close up "eye shot" of The Bride blinking is cut. Instead, the first part of the close up before she blinks is shown, however, at the point when she normally blinks, there is a replacement medium shot of her standing slightly fatigued and holding her sword out.
Finally, after the "House of Blue Leaves" fight, is the most infamous of the missing scenes and that is Sofie Fatale's extended "trunk interrogation" scene. After The Bride warns Sofie about cutting off something, instead of cutting back to Sofie in the hospital, The Bride is shown grabbing Sofie's arm and screams "GIVE ME YOUR OTHER ARM!". Sofie starts to panic, but then The Bride chops off her other arm, causing blood to splash onto the screen and Sofie begins screaming again.
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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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+