Choppers’ Paradise

First part of Tarantino's kick-ass grindhouse homage testifies to his awesome directorial development

Trending Now

Pete Townshend looks back at The Who in 1967: “I don’t think I was angry”

Smashing guitars, hanging out with Small Faces and keeping Keith Moon onside

Mogwai: Album By Album

Founded in 1995 and initially a trio, Glasgow’s Mogwai made their debut with “Tuner/Lower”, a self-pressed seven-inch in thrall...

Introducing the new issue of Uncut

GETTING YOUR COPY OF THIS MONTH'S UNCUT DELIVERED STRAIGHT TO YOUR DOOR IS EASY AND HASSLE FREE - CLICK...

Introducing the Deluxe Ultimate Music Guide to Bob Marley

In-depths reviews and archive encounters with the reggae legend

October, 2003. Quentin Tarantino’s first movie in six years is received with howls of excitement by Tarantinophiles the world over?and the quiet, confused cluck of disappointment from certain observers, for whom its blood-spattered excess is a negligible addition to the director’s previously unassailable filmography. The fourth film by Quentin Tarantino may have loads of action, but where’s the glorious, endlessly replayable dialogue that’s the backbone of Reservoir Dogs and Pulp Fiction? Where’s the narrative complexity on show in his accomplished third outing, Jackie Brown?

Now that Vol One has made it to DVD (a no-frills release?expect a special edition after Vol Two), how does Kill Bill stack up against its director’s slim-but-hugely-influential back catalogue? The answer is, of course, at the top of the list?or very close to it.

Sure, Kill Bill is a style-over-content ode to QT’s grindhouse-based adolescence?an amalgam of all the low-rent B-movie action classics he saw while growing up in LA?but it’s also a brilliantly imagined, beautifully realised testament to his maturing ability as a multi-faceted director.

From the truly shocking pre-credits opening sequence to the final killer line of dialogue, Quentin’s first instalment of the bride-with-no-name’s bloody quest for revenge grabs the audience by the collar and rips them through a variety of genres (urban combat, Sam Fuller-style hospital nightmare, hardcore anim

Advertisement

Latest Issue

The Who, New York Dolls, Fugazi, Peggy Seeger, Scritti Politti, Bob Dylan, Marvin Gaye, Serge Gainsbourg, Israel Nash and Valerie June
Advertisement

Features

Advertisement