Kill Bill (Volume 1)

I like to think that, if I were involved enough in the industry, I would produce movies like Quentin.

“Kill Bill” makes it abundantly clear that Tarantino has mastered his style. He can succesfully take his vision and make it work on film. In the same way the “Pulp Fiction” became a classic, “Kill Bill (Volume 1)” will become a bookmark in style.

We’re very tired of the same half dozen plot lines that are continually regurgitated by Hollywood, and so is Hollywood. And those with the creativity to do something about it are admitting that while no one is going to be able to come up with an original plot we can still break new ground with style.

Don’t try to reinvent the mousetrap. Just make it flashier.

The cinematography is stellar: the angles, the colours, the detail. It’s all there. I was utterly charmed by the fountain in the courtyard. We don’t see it until the right time, when the symbolism of the water running out of the cup is most symbolic, but the sound of the fountain is there from the first. Or rather, it’s evident during the quiet moments.

I think that’s about all I’m going to say about “Kill Bill”. Go see it, because if you don’t you’ll feel dumb when the rest of the world is talking about it. But also go see it because it’s worth the price of admission. Quentin isn’t reinventing the mousetrap. He borrows heavily from the melodrama of the seventies (he always has). But he is taking the style up a notch (that’s what he does).

And you know I love the style.