An assassin is shot by her ruthless employer, Bill, and other members of their assassination circle – but she lives to plot her vengeance.

Credits: TheMovieDb.

Film Cast:

• Beatrix “The Bride” Kiddo: Uma Thurman
• O-Ren Ishii: Lucy Liu
• Vernita Green: Vivica A. Fox
• Elle Driver: Daryl Hannah
• Bill: David Carradine
• Budd: Michael Madsen
• Sofie Fatale: Julie Dreyfus
• Gogo Yubari: Chiaki Kuriyama
• Hattori Hanzo: Shin’ichi Chiba
• Johnny Mo: Gordon Liu Chia-Hui
• Earl McGraw: Michael Parks
• Buck: Michael Bowen
• Tanaka: Jun Kunimura
• Bald Guy (Sushi Shop): Kenji Ohba
• Proprietor: Yuki Kazamatsuri
• Edgar McGraw: James Parks
• Charlie Brown: Sakichi Satō
• Trucker: Jonathan Loughran
• Tokyo Business Man: Yoshiyuki Morishita
• Crazy 88 #1 (Miki): Tetsuro Shimaguchi
• Crazy 88: Kazuki Kitamura
• Crazy 88: Yoji Tanaka
• Crazy 88: Sō Yamanaka
• Crazy 88 #6 (Girl): Juri Manase
• Boss Ozawah: Akaji Maro
• Boss Honda: Goro Daimon
• Boss Benta: Shun Sugata
• Boss Orgami: Zhang Jin Zhan
• Young 88 (Spanked Boy): Hu Xiaohui
• Nikki Bell: Ambrosia Kelley
• The 5, 6, 7, 8’s: Sachiko Fujii
• Okinawa Airline Ticket Agent: Shu Lan Tuan
• O-Ren (anime sequence) (voice): Ai Maeda
• Boss Matsumoto (anime sequence) (voice): Naomi Kusumi
• Pretty Riki (anime sequence) (voice): Hikaru Midorikawa
• Crazy 88: Issey Takahashi

Film Crew:

• Thanks: Robert Rodriguez
• Writer: Quentin Tarantino
• Producer: Lawrence Bender
• Characters: Uma Thurman
• Director of Photography: Robert Richardson
• Editor: Sally Menke
• Casting Associate: Julie Dreyfus
• Associate Producer: Koko Maeda
• Casting: Johanna Ray
• Sound Designer: Harry Cohen
• Stunt Double: Zoë Bell
• Executive Producer: Bob Weinstein
• Executive Producer: Harvey Weinstein
• Production Design: David Wasco
• Supervising Sound Editor: Scott Martin Gershin
• Production Design: Yohei Taneda
• Original Music Composer: RZA
• Sound Editor: Bob Beher
• Key Makeup Artist: Debbie Zoller
• Set Decoration: Sandy Reynolds-Wasco
• Executive Producer: Mitsuhisa Ishikawa
• Sound Effects Editor: Dino Dimuro
• Set Decoration: Yoshihito Akatsuka
• Special Effects Coordinator: John Hartigan
• Hairstylist: Ilona Herman
• Visual Effects Supervisor: Frankie Chung
• Property Master: Steve Joyner
• Executive Producer: Erica Steinberg
• Utility Stunts: Ken Lesco
• Thanks: Peter Bogdanovich
• Costume Design: Catherine Marie Thomas
• Associate Producer: Kwame Parker
• Executive Producer: E. Bennett Walsh
• Animation: Mahiro Maeda
• Makeup Effects: Gregory Nicotero
• First Assistant Editor: Joan Sobel
• Art Direction: Daniel Bradford
• Animation: Junichi Uematsu
• Hairstylist: Noriko Watanabe
• Makeup Effects: Howard Berger
• Art Direction: Minoru Nishida
• Animation Director: Katsuhito Ishii
• Second Unit Director: Mizuho Nishikubo
• Character Designer: Shou Tajima
• Producer: Katsuji Morishita
• Foley Mixer: Nerses Gezalyan
• Foley Artist: James Moriana
• First Assistant Sound Editor: Branden Spencer
• Foley Artist: Jeffrey Wilhoit
• Art Direction: Cao Juiping
• Set Designer: Takashi Sasaki
• First Assistant Director: Kazuto Nakazawa
• Gaffer: Ian Kincaid
• Steadicam Operator: Larry McConkey
• Post Production Coordinator: Ted Gidlow
• Casting Assistant: Jerome Ro Brooks
• Set Designer: Mary Saisselin
• Assistant Editor: Greg D’Auria
• Makeup Designer: Scott Patton
• Video Assist Operator: Glenn Cannon
• Animation: Mitsuo Iso
• Production Manager: Motoki Ishida
• Costume Design: Kumiko Ogawa
• Costume Supervisor: Helen Monaghan
• Boom Operator: Tom Hartig
• Dialogue Editor: Frederick H. Stahly
• Dialogue Editor: Michael Hertlein
• Supervising Sound Editor: Wylie Stateman
• Still Photographer: Andrew Cooper
• Set Costumer: Kanani Wolf
• Art Direction: Hidefumi Hanatani
• Art Direction: Lu Yo Lui
• Makeup Department Head: Heba Thorisdottir
• Set Designer: Peter Davidson
• Art Department Coordinator: Gretchen Engel
• Dialogue Editor: Katrina Siegmund
• Sound Designer: Peter Michael Sullivan
• Special Effects Coordinator: Corey Pritchett
• Visual Effects Supervisor: Tommy Tom
• Stunt Coordinator: Keith Adams
• Costume Supervisor: Daniel Grant North
• Music Editor: Jay B. Richardson
• Transportation Coordinator: Derek Raser
• Location Manager: Douglas Dresser
• Location Manager: Akira Morii
• Executive Assistant: David Greenbaum
• Sound Re-Recording Mixer: Michael Minkler
• ADR Supervisor: Hugh Waddell
• Leadman: Brett C. Smith
• ADR Mixer: Greg Steele
• Wigmaker: Victoria Wood
• Rigging Gaffer: John R. Manocchia
• Unit Publicist: Will Casey
• Assistant Property Master: Edward J. Borasch Jr
• Stunts: James Logan
• Art Department Assistant: Eriko Miyagawa
• Sound Mix Technician: Eddie Bydalek
• Animation: Shinya Ohira
• Animation: Eiji Ishimoto
• Animation: Sushio
• Animation: Yasunori Miyazawa
• Animation Manager: Yutaka Sakamoto
• Animation: Keiichi Sasajima
• Animation: Hideki Takahashi
• Animation: Takaaki Yamashita
• Associate Producer: Dede Nickerson
• Grip: Bruce Del Castillo
• Key Hair Stylist: Emanuel Millar
• Assistant Production Coordinator: Rachael Lin Gallaghan
• Music Supervisor: Michelle Kuznetsky
• Music Supervisor: Mary Ramos
• Production Sound Mixer: Mark Ulano
• Sound Engineer: John Bires
• Greensman: Steve Borgese
• Construction Coordinator: John Stone
• Carpenter: Archie Hankins
• Construction Foreman: Jeff Plauster
• Camera Production Assistant: Jessica Miglio
• Unit Production Manager: Cornelia Ryan
• Armorer: Vincent Joseph Flaherty
• Painter: Michael Spitaletto
• Set Production Assistant: Stephen Dudycha
• Assistant Director: William Paul Clark
• Costume Design: Mark Zunino
• Costume Design: Alexander AD
• Assistant Art Director: Satoko Saito
• Lead Painter: Laurel Pickering
• Location Scout: Marie Healy
• Production Illustrator: Ayako Sakahara
• Standby Painter: Elizabeth Norton
• First Assistant Camera: Jamie Felz
• Key Grip: Herb Ault
• Set Dresser: David Ladish
• Additional Music: D.A. Young
• Craft Service: Paul Abraham
• Driver: Robert Aaron Brown
• Picture Car Coordinator: Don Feeney
• Post Production Assistant: Ian Elias
• Post Production Supervisor: Peter Mavromates
• Propmaker: Rome Duval
• Scenic Artist: Jennifer A. Bolitho
• Set Medic: Elida Cerda
• Stand In: Leslie Yeransian
• Stunts: Sho Brown
• Transportation Co-Captain: Bruce Callahan
• Unit Production Manager: Arturo del Río
• Digital Intermediate: Jennifer Hall Lee
• Best Boy Grip: Greg Fausak
• Electrician: Khan Griffith
• Lighting Technician: Preston A. Adams
• Rigging Grip: Carlos Escobar
• Production Accountant: Katsumi Furuhashi
• Production Coordinator: Jennifer S. Deayton
• Assistant Sound Editor: Mike Hurst
• Digital Compositors: Kelly Bumbarger
• Special Effects Supervisor: Jason Gustafson
• Sound: Daniel R. Kerr
• Camera Loader: Julie Helton
• Stunts: Satya Bellord
• ADR Recordist: Roger Morris
• Assistant Location Manager: Carlos A. Aragon
• Foley Editor: Craig S. Jaeger
• Production Secretary: Sue Smith
• Extras Casting: Rich King
• Utility Sound: Adam Blantz
• Dolly Grip: Antonio V. Garrido
• Fight Choreographer: Rob Moses
• First Assistant Director: Kennedy Taylor
• Second Assistant Director: Jonathan Tex Levitt
• Third Assistant Director: Texas Dave
• Negative Cutter: Aaron Denenberg
• Assistant Production Manager: Rui Kuroki
• Second Second Assistant Director: Heather I. Denton
• Digital Intermediate Producer: Stephanie Ito
• Travel Coordinator: Andrew Blau
• Stunts: Charlie Estepp
• Stunt Driver: Ty Williams
• Production Assistant: Go Abe
• Visual Effects Production Manager: Jaime Norman
• First Assistant Accountant: Beverly Jusi
• Payroll Accountant: Edward Poveda
• Costumer: Lisa Bojarski
• Additional Second Assistant Director: Ryan Tighe
• Art Department Assistant: Juning Li
• Assistant Set Designer: Kei Itsutsuji
• Construction Buyer: Ellen C. Troy
• Creative Director: Phill Zagajewski
• Graphic Designer: Norm Hvam
• Swing: Marcus Epps
• Special Effects Technician: Jack Jennings
• Assistant Camera: Melanie C. Brown
• Second Assistant Camera: Jasmine Yuen Carrucan
• Wardrobe Assistant: Amy Lin
• Music Coordinator: Wendi Morris
• Accountant: Hiroyuki Nakano
• Assistant Accountant: Jerry Carville
• Assistant Craft Service: Alan Schwartz
• Key Production Assistant: Ryutaro Ishimori
• Second Assistant Accountant: Sean Carville
• Technical Advisor: Junichiro Aki

Movie Reviews:

• tmdb13206453: This is the movie he made after Jackie Brown. I thought I might just point that out. A big budget, larger scale action blockbuster. This is the one that would change the direction of Tarantino’s films. And honestly, it might be my favorite besides Pulp Fiction.

  This movie oozes with style and beautifully choreographed action. This movie has an anime section akin to Japanese anime. That’s some cool stuff. Even the non-action parts are some really good stuff. Like the guy from the old Street Fighter movies as Hatori Hanzo and making the Bride’s sword. And the fantastic soundtrack. The great opening scene where the Bride gets shot and then the somber “Bang Bang” by Nancy Sinatra plays.

  But of course, the amazingly choreographed action makes this movie. A lot of it is showcased in the Crazy 88 fight and the few fights before it. It has some brilliant uses of the style. Of course, there’s black and white which was actually used to avoid an NC-17, but works very effectively. And the beautifully shot battle between the Bride and O-Ren. No music really adds a lot to it. It’s quiet and oh so effective compared to the loud blood fest of the Crazy 88.

  But there’s also the opening hand to hand fight scene with Vernita Green which is also very well edited. Very surprising scene as it is interrupted by Green’s daughter coming home and then they talk. And it starts back again as quickly as it began and then ends once again with a knife to Vernita’s chest. What a brilliant tension filled scene.

  The movie also never takes itself too seriously. That’s for the sequel. But the fun action and style leads the whole way. Also along with Buck, and other fun scenes. Lest we forget other great scenes like the whistle scene as Elle Driver comes to kill the Bride in her sleep. Or interrogating Sophie. “These will be things you will miss.” I love it.

  Honestly, it might be the best action movie of the 2000s, at least for me. And Tarantino has a lot of my favorite movies. Maybe I enjoy his movies a bit too much. But even with that, it’s one of the my favorites. Kill Bill Vol 1 gets a 10/10

• John Chard: Not so hush hush but very much on the QT.

  After being gunned down on her wedding day by her former colleagues, assassin Black Mamba (Uma Thurman) rouses from a four year coma with only one thing on her mind, revenge! Striking up a death list of five, she sets off for bloody retribution.

  Quentin Tarrantino writes and directs what is in all truth, a homage to all the cinema conventions close to his heart. Think an amalgamation of chop-socky, sexploitation, samurai, spaghetti Westerns, anime and cop shows of years past, and you get the heart of Kill Bill. A film that was so epic in scope it had to be cut into two films. What it lacks in Tarrantino dialogue dynamite it more than makes up for with action and astute visual flair. And it’s bloody, very bloody. Thurman is great as the avenging Mamba/The Bride, while the inclusion of Sonny Chiba & Lucy Liu adds a touch of class as QT revels in his East meets West berserker narrative. It could have been trimmed down, particularly in the middle section where Tarrantino deals in a calm before the storm ideal, but Volume 1 was one of the most exciting movies of 2003, and most notably it shows Tarrantino to be adept at action directing. His action skills perhaps explains why the script doesn’t crackle with the wit and panache of his previous offerings? You sense he wants more than the words “fine writer” engraved on his granite mined Curriculum Vitae.

  Hugely enjoyable with a neat end of film cliffhanger, roll on part 2… 8/10

• Wuchak: Uma Thurman as an anti-superheroine

  RELEASED IN 2003 and written/directed by Quentin Tarantino, “Kill Bill: Vol. 1” is an action/thriller/fantasy starring Uma Thurman as The Bride who seeks vengeance on the team of assassins who betrayed her, a group of which she once belonged. Her journey takes her from El Paso to Pasadena to Okinawa. Vivica A. Fox, Lucy Liu, ravishing Julie Dreyfus and Michael Madsen appear as various assassins or accomplices.

  “Kill Bill” is a creative mish-mash of 60s-70’s Bond-isms, Spaghetti Westerns and martial arts flicks, but with modern production values. It sometimes plays like a superhero movie in that The Bride is essentially an anti-superheroine who mows down literally armies of skilled fighters, e.g. the overly drawn-out B&W fight with the Crazy 88s. I loved the inclusion of Ennio Morricone’s “Death Rides a Horse.”

  On the downside, there’s an overlong lame anime sequence and the characters lack substance and realism, but who can deny the film’s pizzazz? Sure, it’s style over substance, but it’s entertaining in a voguish, quirky way. Since both parts were meant to be ONE MOVIE, it’s mandatory to see “Vol. 2” to properly appreciate and appraise “Kill Bill.” The second part fills in the holes.

  THE MOVIE RUNS 111 minutes and was shot in Texas, California, Mexico, Tokyo, Beijing and Hong Kong.

  GRADE: B/B- (6.5/10)

• rsanek: Interesting usage of anime to tell O-Ren’s back-story, but I wasn’t really a fan of the cartoonish blood splattering and gratuitous fight scenes.