Josh Kleinbaum is the city hall reporter for the News-Press, the
Leader’s sister publication.
There’s black-and-white blood, color blood and cartoon blood.
Blood spills, squirts, pours and, in one perverse scene, even sprays
from a freshly decapitated body like a fountain in a European plaza.
No, Quentin Tarantino did not hold back on the gore in his new
movie, “Kill Bill, Vol. 1,” which somehow managed to eclipse his
debut, “Reservoir Dogs,” by using approximately 15,478 gallons of
But once you get past the gore, Tarantino delivers his usual
knockout combination -- innovative directing and interesting
dialogue, two key components most writers and directors overlook
Tarantino’s ambition drove the movie. He made bold decisions
throughout, using both color and black-and-white, filming much of the
movie in Japanese with English subtitles, and using a long
Japanese-style animation for one flashback.
The plot is simple -- Uma Thurman, a one-time assassin, wakes up
from four years in a coma and is out for revenge, hunting down the
people who tried to kill her.
But Tarantino takes the simple plot and riddles it with question
marks. He gives little back story, showing how Thurman was put in a
coma but never explaining why. Thurman’s character is known simply as
The Bride -- the failed assassination took place on her wedding day.
Every time her name is mentioned, Tarantino chose to bleep it out.
Why is not clear, but only Tarantino would make a decision like that.
Maybe some of those questions will be answered in Vol. 2, the
second half of the movie, which is scheduled for release in February.
“Kill Bill: Vol. 1" leaves its audience with plenty of questions
and, in all likelihood, a queasy stomach or two. The legacy of this
movie will be determined by the direction Tarantino takes in the
But without a doubt, Tarantino proves to be the most innovative of
* “Kill Bill: Vol. 1" is rated R for pervasive strong bloody
violence, language and some sexual content.