another bad ass Kung Fu movie. Quintin Tarantino gives us the story of the bride fighting those who wronged her. the movie has an old time-y kung fu vibe and has all the tropes you could possibly want. following the struggle of the bride captivates and leaves you on the edge pf your seat, its fast paced and bursting at the seams with high quality fighting choreography and action.
You can call Tarantino a virtuoso, and this his pièce de résistance. A movie about movie for people who like movies, as if a young Quentin entered a candy store full of movie cameras, 35 mm film and a lot (A LOT) of fake blood and just a had a blast. Paradoxically shallow, because with each cut it becomes deeper, but you can see the wound, and ti's but a scratch: a wonderful, bloody, kick-ass piece of scratch.
High budgeted revenge movie with sword fights, tons of blood and extreme style. Homages and nods to old exploitation films that Tarantino (and hopefully others) has seen blended with his usual flair of well-written dialogue and good music taste. What is not to like? A Japanese animation sequence added into the movie only add atmosphere to it all. Great cast is icing on the cake.
61/100 ( 3-4 yıldır burada olan 83 puanım için herkesten özür diliyorum. O zaman küçüktüm bir hata yapmışım. Tarantino beni şaşırttı bu saçma filmi ile. Hele hele 100 kişiyi o öldürdüğü sahne tam bir facia ama şu var işte. Tarantino tarzı. Ne kadar kötü olursa olsun 45-50 puan garanti veriyorsunuz.)
rewatched. it's a great comedy with (maybe a little too much) action in between. I can't actually say what I thought of it - this really doesn't work as a whole film. I remembered very little of it, but what surprised me the most watching it now, a few years past, was the amazing use of b movies and exploitation flicks tropes.
Early Tarantino films (namely Reservoir Dogs and Pulp Fiction) work in terms of situations, but his dialogues when broken apart from their setups are overwritten as a rambling cartoon, showboating the characters and his story rather than being purposeful. Vol. 1 falls into this trap too, but its fast-moving plot allows him to lessen the dialogue and connect it with extremely well-executed action scenes.