Fox News Reviews Kill Bill

Drudge is calling this the 1st review of Kill Bill which its clearly not – though it is among the first from the major media. Here’s the skinny:

What surprised me most about Kill Bill, though, was Thurman. She’s had an iffy movie career, with some good stuff (Pulp Fiction, Dangerous Liaisons, Hysterical Blindness) and some famously bad stuff (Gattaca, The Avengers, Even Cowgirls Get the Blues).

In a way, she’s perfect Tarantino material — someone we think of as a star whose resume is littered with junk. Tarantino taps into that very insightfully. Kill Bill sort of marries these two ideas together for Thurman. Now she’ll be a star like never before. Her performance is just stunning, a really glorious piece of physical, witty exertion.

… these were the impressions I was left with after the screening: that it rocked, that the violence and spurting blood was cartoon-like fun, that Lucy Liu was the best she’s ever been.

Hey … I actually liked Gattaca!

Also, Tarantino has apparently told TV Movie magazine that there will be another long pause between between Kill Bill Volume 2 and his next movie – heavily rumored to be Inglorious Bastards.

Hollywood Reporter has also reviewed Kill Bill.

Big Uma Thurman Article

In addition to the article, it includes a very flattering photo of Uma. I don’t think I’ve ever seen her look so good. Here’s an excerpt:

Thurman’s statuesqueness has been an eye-drawing asset in previous performances, but it was a serious impediment to learning how to beat the life out of people. “My body type is the opposite of all the people who created these arts,” she says. “They have a low center of gravity; they’re compact. Then there’s me. I’m like 5 ft. 11 in., all arms and legs, with a 2-ft. neck.” The first time Thurman swung the 10-lb. samurai sword her character uses in Kill Bill’s climactic duel, she hit herself in the head and nearly burst into tears. “At first I just lied to myself. I said, ‘Obviously he sees this is going to be impossible for me, and he’ll figure out a way to fake it.”


Kill Bill Bootleg Trailer (Quicktime)

Via the boys at JoBlo. This trailer gives a bit better idea of the plot than the official version. Go. Watch. Now.

UPDATE: Well, the trailer link is not working and I’ve been unable to find another site that is hosting the file. I’ve got it on my hard drive, but at 16MB, I’d go over my bandwidth cap in about 30 minutes if I put it up here. I’ll keep looking, and you could always just buy the Kill Bill soundtrack – it has the trailer on it (along with 2 others).

UPDATE #2: Kill Bill Bootleg trailer is back online!


Tarantino Lets Loose On CGI In Movies

The November issue of Empire Magazine has an interview with Quentin, and today, they’ve provided some choice excerpts regarding Tarantino’s apparent hatred of CGI:

“I watched Keanu watching and I suddenly felt it. You know, my guys are all real. There’s no computer fucking around. I’m sick to death of all that shit. This is old school with fucking cameras. If i’d wanted all that computer game bullshit, I’d have gone home and stuck my dick in my Nintendo.

“This CGI bullshit is the death knell of cinema. Movies are far too fucking expensive at the moment and it’s killing the fucking art form. The way it’s going, in ten year’s time it will officially be killed.”

Thats beautiful.

Kill Bill – Last Hurrah Of Precocious Genius?

This is a very long article that looks at the same question everyone else seems to be asking – does Tarantino still have it?. Here’s the key paragraphs:

‘Tarantino is in a uniquely difficult situation,’ elaborates the film historian and critic Mark Cousins, ‘because all the things that made him new and fresh when he burst on the scene a decade ago have become over-familiar and hackneyed through their over-use by other, often lesser, directors. It reached a kind of tipping point a few years back where every movie seemed to have a scene where the characters argued over pop cultural trivia. More worryingly in the long run is the sense that, like Scorsese before him, the second stage of his career might be characterised by that long, sad search for a subject.’

If that is indeed the case, Kill Bill might just be the pivotal moment when Tarantino exorcises, once and for all, the various absorbed generic influences – noir, blaxploitation, kung fu – that, to varying degrees, have defined all his films. Or, it could mark a long retreat into the kind of over-the-top stylistic conformity that will appeal only to his most adolescent-minded fans, of which there are many. Curiously, the most radical aspect of Kill Bill is also the most baffling: Tarantino’s decision to pare the dialogue to a bare minimum which, though faithful to the genre’s unspoken ground rules, is akin to Ronaldo deciding to stop scoring goals in order to concentrate fully on his passing.

Read the whole thing, its got lots of little tidbits of information – though I am getting tired of all these ‘woe is Quentin’ articles.