The worst thing about the first Quentin Tarantino picture in five years is that after 93 minutes of some of the most luscious violence and spellbinding storytelling you're likely to see this year, Kill Bill ends.Read Full Review »
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CHICAGO SUN-TIMES: Roger Ebert
Kill Bill: Volume 1 shows Quentin Tarantino so effortlessly and brilliantly in command of his technique that he reminds me of a virtuoso violinist racing through "Flight of the Bumble Bee" -- or maybe an accordion prodigy setting a speed record for "Lady of Spain."Read Full Review »
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Washington Post: Stephen Hunter
Delivered with such high panache and brio, it's mesmerizing.Read Full Review »
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Time: Richard Corliss
By next semester, some grad student will be writing a thesis on the B-movie influences on this A+ film.Read Full Review »
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ENTERTAINMENT WEEKLY: Owen Gleiberman
The film may be bloody, but it's also bloody gorgeous: a grandly fetishized epic of cinematic aggression. It's a tale of vengeance that hinges on Tarantino's love of ferocity as spectacle -- his immersion in action and exploitation, his addiction to the jazzy catharsis of junk-film kicks.Read Full Review »
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Washington Post: Desson Thomson
Reconfirms Tarantino's status as the master of pop cinema and puts a sense of excitement into the year. He has matched, if not eclipsed, the power and scope of 1994's "Pulp Fiction," though not its human charm.Read Full Review »
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USA Today: Mike Clark
Bill re-establishes that Tarantino ranks with "Boogie Nights'" Paul Thomas Anderson as one of the few Hollywood filmmakers of the past 25 years with the stuff to win a lifetime achievement award.Read Full Review »
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ROLLING STONE: Peter Travers
In Kill Bill, Tarantino brings delicious sin back to movies -- the thrill you get from something down, dirty and dangerous.Read Full Review »
The movie love can make it hard to hear the human pulse beneath the noise (it's there, if faint), much less see if there's anything new going on.Read Full Review »
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