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Kill Bill: Volume 1
Kill Bill: Volume 1
Kill Bill: Volume 1
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Kill Bill: Volume 1
A woman wearing a yellow and black-striped suit with patches around the chest holds a katana. Above the film's title reads "THE 4TH FILM BY QUENTIN TARANTINO".
Theatrical release poster
Directed byQuentin Tarantino
Written byQuentin Tarantino
Produced byLawrence Bender
Starring
CinematographyRobert Richardson
Edited bySally Menke
Music byRZA
Production
companies
Distributed byMiramax Films[1]
Release date
  • October 10, 2003 (2003-10-10)
Running time
111 minutes
CountryUnited States[1]
LanguageEnglish
Budget$30 million[2]
Box office$180.9 million[2]

Kill Bill: Volume 1 is a 2003 American martial arts action film written and directed by Quentin Tarantino. It stars Uma Thurman as the Bride, who swears revenge on a group of assassins (Lucy Liu, Daryl Hannah, Vivica A. Fox and Michael Madsen) and their leader, Bill (David Carradine), after they try to kill her and her unborn child. Her journey takes her to Tokyo, where she battles the yakuza.

Kill Bill was inspired by 1970s exploitation films and martial arts films. It features an anime sequence by Production I.G and a black-and-white sequence. Volume 1 is the first of two Kill Bill films made in a single production; Volume 2 was released six months later. They were originally set for a single release, but the film, with a runtime of over four hours, was divided in two. This meant Tarantino did not have to cut scenes.

Kill Bill was theatrically released in the United States on October 10, 2003. It received positive reviews and grossed over $180 million worldwide on a $30 million budget, achieving the highest-grossing opening weekend of a Tarantino film to that point. A single film combining both parts, Kill Bill: The Whole Bloody Affair, is scheduled for December 5, 2025.

Plot

[edit]

In 1999, the Bride, a former member of the Deadly Vipers Assassination Squad, is rehearsing her wedding to Tommy Plympton at a chapel in El Paso, Texas. The Deadly Vipers, led by Bill, attack the chapel, shooting everyone. As the Bride lies wounded, she tells Bill he is the father of her unborn child just before he shoots her in the head. Police investigating the massacre later find the Bride still alive, but in a coma.

In the hospital, a disguised Elle Driver, one of the Deadly Vipers, attempts to euthanize the Bride. Bill aborts the mission at the last moment, considering it dishonorable to kill her while she is defenseless. Four years later, the Bride wakes up and is horrified to discover she is no longer pregnant. She rips out the tongue of and then stabs to death a man who intends to rape her, and then uses the door to smash in the head of a hospital worker who has been selling her body while she was comatose. She takes the hospital worker's truck and vows to kill Bill and the other Deadly Vipers.

The Bride goes to the home of Vernita Green, a former Deadly Viper who now leads a normal suburban life. They engage in a knife fight, which is interrupted when Vernita's young daughter arrives home. When Vernita tries to shoot the Bride with a pistol hidden in a box of cereal, the Bride impales her in the heart with a throwing knife; realizing that Vernita's daughter has inadvertently witnessed her mother's death, the Bride tells her she'll be waiting if she ever wants revenge.

Two months earlier, the Bride goes to Okinawa to obtain a sword from the legendary swordsmith Hattori Hanzō, who has sworn never to forge a sword again. After learning that her target is Bill, his former student, he crafts his finest sword for her.

The Bride travels to Tokyo to find another Deadly Viper, O-Ren Ishii, now the leader of the Tokyo yakuza. After witnessing the yakuza murder her parents when she was a child, O-Ren took vengeance on the yakuza boss and replaced him after training as an elite assassin.

The Bride tracks O-Ren to a restaurant, where she quickly mutilates O-Ren's assistant and lawyer, Sofie Fatale, by cutting her arm off. The Bride defeats O-Ren's squad of elite fighters, the Crazy 88, and kills O-Ren's bodyguard, the schoolgirl Gogo Yubari. O-Ren and the Bride duel in the restaurant's Japanese garden. The Bride kills O-Ren by scalping off the top of her head, and with her last breath, O-Ren compliments her blade before dying. Later, the Bride ties Sofie up and shoves her into the trunk of a car, where she tortures her for information on the other Deadly Vipers and cuts off her remaining arm, but leaves her alive as a threat. Bill finds Sofie and asks her if the Bride knows that her daughter is alive.

Cast

[edit]
  • Uma Thurman as Beatrix "the Bride" Kiddo (code name Black Mamba), a former member of the Deadly Viper Assassination Squad, described as "the deadliest woman in the world".
  • Lucy Liu as O-Ren Ishii (code name Cottonmouth), a former Deadly Viper who has become the leader of the yakuza in Tokyo.
  • Vivica A. Fox as Vernita Green (code name Copperhead), a former Deadly Viper and now a mother and homemaker living under the name Jeannie Bell.
  • Daryl Hannah as Elle Driver (code name California Mountain Snake), a former Deadly Viper, Bill's lover and the Bride's fourth target. Driver is based on Madeline (Christina Lindberg) in They Call Her One Eye.[3]
  • Michael Madsen as Budd (code name Sidewinder), a former Deadly Viper and Bill's brother, working as a strip club bouncer. He is the Bride's third target.
  • David Carradine as Bill (code name Snake Charmer), the former leader of the Deadly Vipers, the Bride's former lover, and the father of her daughter. He is an unseen character until Volume 2.
  • Sonny Chiba as Hattori Hanzō, a sushi chef and long-retired master swordsmith.
  • Chiaki Kuriyama as Gogo Yubari, O-Ren's sadistic Japanese schoolgirl bodyguard.
  • Gordon Liu as Johnny Mo, head of O-Ren's personal army, the Crazy 88.
  • Michael Parks as Ranger Earl McGraw, a Texas Ranger who investigates the wedding chapel massacre. Parks originated McGraw in the Robert Rodriguez film From Dusk till Dawn, which Tarantino wrote and acted in. He reprised the role in both segments of the Rodriguez/Tarantino collaboration Grindhouse. Parks also appeared in Volume 2 as a separate character, Esteban Vihaio.
  • Julie Dreyfus as Sofie Fatale, O-Ren's lawyer, confidante, and second lieutenant. She is also a former protégée of Bill's and is present at the wedding chapel massacre.
  • Michael Bowen as Buck, an orderly at the hospital who has been raping and prostituting the Bride while she lay comatose.
  • Jun Kunimura as Boss Tanaka, a yakuza whom O-Ren executes after he ridicules her ethnicity and gender.
  • Kenji Ohba as Shiro, Hattori Hanzo's employee.
  • Yuki Kazamatsuri as the Proprietress of the House of Blue Leaves.
  • James Parks as Ranger Edgar McGraw, a Texas Ranger and son of Earl McGraw.
  • Goro Daimon as Boss Honda
  • Shun Sugata as Boss Genta
  • Akaji Maro as Boss Ozawah
  • Kazuki Kitamura as Boss Koji, a yakuza working for O-Ren. He also appeared as Bodyguard #2 in O-Ren's army, the Crazy 88.
  • The 5.6.7.8's (Sachiko Fuji, Yoshiko Yamaguchi and Ronnie Yoshiko Fujiyama) as themselves, performing at the House of Blue Leaves.
  • Jonathan Loughran as Buck's trucker client, killed by the Bride after he attempts to rape her.
  • Sakichi Sato as "Charlie Brown", a House of Blue Leaves employee who wears a kimono similar to the shirt worn by the Peanuts character.
  • Ambrosia Kelley as Nakia "Nikki" Bell, Vernita's four-year-old daughter.
  • Yōji Tanaka as Crazy 88 #3
  • Issey Takahashi as Crazy 88 #4
  • Juri Manase as Crazy 88 #6
  • Ai Maeda as O-Ren (anime sequence) (voice)
  • Naomi Kusumi as Boss Matsumoto (anime sequence) (voice)
  • Hikaru Midorikawa as Pretty Riki (anime sequence) (voice)

Production

[edit]

Writing

[edit]
The chapel used in the opening sequence

Quentin Tarantino and Uma Thurman conceived the Bride character during the production of Tarantino's 1994 film Pulp Fiction; Kill Bill credits the Bride character to "Q & U".[4] Tarantino spent a year and a half writing the script while he was living in New York City in 2000 and 2001, spending time with Thurman and her newborn daughter Maya.[4][5] Reuniting with the more mature Thurman, now a mother, influenced the way Tarantino wrote the Bride character. He didn't realize that her child could still be alive until the end of the writing process.[4]

Tarantino developed many of the Bride's characteristics for the character of Shosanna Dreyfus for his 2009 film Inglourious Basterds, which he worked on before Kill Bill. Dreyfus was to be an assassin with a list of Nazis she would cross off as she killed. Tarantino switched the character to the Bride and redeveloped Dreyfus.[6] Thurman cited Clint Eastwood's performance as Blondie in the 1966 film The Good, the Bad and the Ugly as an inspiration. In her words, Eastwood "says almost nothing but somehow manages to portray a whole character".[7]

Tarantino originally wrote Bill for Warren Beatty, but as the character developed and the role required greater screen time and martial arts training, he rewrote it for David Carradine.[8] Beatty said he turned the role down, as he did not want to be away from his family while shooting in China.[9] Tarantino also considered Bruce Willis for the role.[10] He cast Daryl Hannah as Elle Driver after seeing her performance in the television film First Target. The physical similarities between Thurman and Hannah inspired how he wrote the rivalry between the characters.[11] Michelle Yeoh met with Tarantino about a role in the film.[12]

An early draft included a chapter after the confrontation with Vernita, in which the Bride has a gunfight with Gogo Yubari's vengeful sister Yuki. It was cut because it would have made the film overlong and added $1 million to the budget.[4] Another draft featured a scene in which the Bride's car is blown up by Elle.[4]

Filming

[edit]
Reproduction of the katana used by the Bride

When Thurman became pregnant as shooting was ready to begin, Tarantino delayed the production, saying: "If Josef Von Sternberg is getting ready to make Morocco and Marlene Dietrich gets pregnant, he waits for Dietrich!"[8] Principal photography began in 2002.[13] Although the scenes are presented out of chronological order, the film was shot in sequence.[4] The choreographer Yuen Woo-Ping, whose credits included The Matrix, was the martial arts advisor.[14] The anime sequence, covering O-Ren Ishii's backstory, was directed by Kazuto Nakazawa and produced by Production I.G, which had produced films including Ghost in the Shell and Blood: The Last Vampire.[15] The combined production lasted 155 days and had a budget of $55 million.[16]

According to Tarantino, the most difficult part of making the film was "trying to take myself to a different place as a filmmaker and throw my hat in the ring with other great action directors", as opposed to the dialogue scenes he was known for.[4] The House of Blue Leaves sequence, in which the Bride battles dozens of yakuza soldiers, took eight weeks to film, six weeks over schedule. Tarantino wanted to create "one of the greatest, most exciting sequences in the history of cinema".[14] The crew eschewed computer-generated imagery in favor of practical effects used in 1970s Chinese cinema, particularly by the director Chang Cheh, including the use of fire extinguishers and condoms to create spurts and explosions of blood. Tarantino told his crew: "Let's pretend we're little kids and we're making a Super 8 movie in our back yard, and you don't have all this shit. How would you achieve this effect? Ingenuity is important here!"[14][17]

Near the end of filming, Thurman was injured in a car crash while filming the scene in which she drives to Bill. According to Thurman, she was uncomfortable driving the car and asked that a stunt driver do it. Tarantino assured her that the car and road were safe. She lost control of the car and hit a tree, suffering a concussion and knee injuries.[18] According to Thurman, Miramax would only give her the crash footage if she signed a document "releasing them of any consequences of [Thurman's] future pain and suffering". Tarantino was apologetic, but their relationship became bitter for years afterwards. Thurman said that after the car crash she "went from being a creative contributor and performer to being like a broken tool". Miramax released the footage in 2018 after Thurman went to police following the accusations of sexual abuse against the producer, Harvey Weinstein.[18][19]

Editing

[edit]

Kill Bill was planned and filmed as a single film.[16] After editing began, Weinstein, who was known for pressuring filmmakers to shorten their films, suggested that Tarantino split the film in two.[16] This meant Tarantino did not have to cut scenes, such as the anime sequence. Tarantino told IGN: "I'm talking about scenes that are some of the best scenes in the movie, but in this hurdling pace where you're trying to tell only one story, that would have been the stuff that would have had to go. But to me, that's kind of what the movie was, are these little detours and these little grace notes."[4] The decision to split the film was announced in July 2003.[16] Tarantino saved most of the Bride's character development for the second film, saying he wanted to make her scary rather than sympathetic for Volume 1.[20] Tarantino opted to have the scene of the Bride meeting the Crazy 88s in black and white to avoid an NC-17 rating.[21]

Music

[edit]
Main article: Kill Bill Vol. 1 (soundtrack)

The Volume 1 soundtrack includes music by the French-American disco group Santa Esmeralda, the Japanese garage rock group the 5.6.7.8's and the Japanese singer Meiko Kaji. The original score was composed by the American producer RZA.[22]

Influences

[edit]

Kill Bill was inspired by exploitation films that played in cheap US theaters in the 1970s, including martial arts films, samurai cinema, blaxploitation films and spaghetti westerns.[23] It pays homage to the Shaw Brothers Studio, known for its martial arts films, with the inclusion of the ShawScope logo in the opening titles and the "crashing zoom", a fast zoom usually ending in a close-up commonly used in Shaw Brothers films.[24] The Bride's yellow tracksuit, helmet and motorcycle resemble those used by Bruce Lee in the 1972 martial arts film Game of Death.[25] The animated sequence pays homage to the anime ultraviolence shown in Golgo 13: The Professional (1983) as well as the urban gothic elements of Wicked City (1987).[26] Tarantino stated in the supplementary material on the Kill Bill DVD that the character Hattori Hanzō was named in tribute to Sonny Chiba's former role as Hattori Hanzō (the historical 16th-century Iga ninja) in the 1980s Japanese TV series Shadow Warriors.

The Guardian wrote that Kill Bill's plot shares similarities with the 1973 Japanese film Lady Snowblood, in which a woman kills off the gang who murdered her family, and observed that like how Lady Snowblood uses stills and illustration for "parts of the narrative that were too expensive to film", Kill Bill similarly uses "Japanese-style animation to break up the narrative".[23] The plot also resembles the 1968 French film The Bride Wore Black, in which a bride seeks revenge on five gang members and strikes them off a list as she kills them.[27] According to Tarantino, the animated sequence was inspired by the 2001 Indian film Aalavandhan.[28]

Release

[edit]

Theatrical

[edit]
The State Theater (Ann Arbor, MI) shows a double feature of Kill Bill Volume 1 and Volume 2.

Kill Bill: Volume 1 was released in theaters on October 10, 2003. It was the first Tarantino film in six years, following Jackie Brown in 1997.[29] In the United States and Canada, Volume 1 was released in 3,102 theaters and grossed $22 million on its opening weekend.[2] Paul Dergarabedian, president of Exhibitor Relations, said Volume 1's opening weekend gross was significant for a "very genre specific and very violent" film that in the United States was restricted to theatergoers 17 years old and up.[30] It ranked first at the box office, beating School of Rock (in its second weekend) and Intolerable Cruelty (in its first). Volume 1 had the widest theatrical release[30] and highest-grossing opening weekend of a Tarantino film to date; Jackie Brown and Pulp Fiction (1994) had each grossed $9.3 million on their opening weekends.[29] According to the studio, exit polls showed that 90% of the audience was interested in seeing the second Kill Bill after seeing the first.[31]

Outside the United States and Canada, Kill Bill: Volume 1 was released in 20 territories. The film outperformed its main competitor Intolerable Cruelty in Norway, Denmark and Finland, though it ranked second in Italy. Volume 1 had a record opening in Japan, though expectations were higher due to the film being partially set there and because of its homages to Japanese martial arts cinema. It had "a muted entry" in the United Kingdom and Germany due to its 18 certificate, but "experienced acceptable drops" after its opening weekend in the two territories. By November 2, 2003, it had made $31 million in the 20 territories.[32] It grossed a total of $70 million in the United States and Canada and $110.9 million in other territories for a worldwide total of $180.9 million.[2] A single film combining both parts, Kill Bill: The Whole Bloody Affair, is scheduled for theatrical release on December 5, 2025.[33]

Home media

[edit]

In the United States, Volume 1 was released on DVD and VHS on April 13, 2004, the week Volume 2 was released in theaters. In a December 2005 interview, Tarantino addressed the lack of a special edition DVD for Kill Bill by stating "I've been holding off because I've been working on it for so long that I just wanted a year off from Kill Bill and then I'll do the big supplementary DVD package."[34] After one week of release, the film's DVD sales had surpassed its $70 million US box office gross.[35]

The United States does not have a DVD boxed set of Kill Bill, though box sets of the two separate volumes are available in other countries, such as France, Japan and the United Kingdom. Upon the DVD release of Volume 2 in the US, however, Best Buy did offer an exclusive box set slipcase to house the two individual releases together.[36] Volume 1, along with Volume 2, was released in High Definition on Blu-ray on September 9, 2008, in the United States. As of March 2012, Volume 1 sold 141,456 Blu-ray units in the US, grossing $1,477,791.[37]

After Disney sold Miramax to Filmyard Holdings in 2010, the home media and streaming rights for both Kill Bill films were sold to Lionsgate, who reissued the Blu-ray and DVD releases on April 26, 2011.[38] A limited edition steelbook release sold exclusively in Best Buy stores was released on November 24, 2013.[39] Following Paramount Global's 49% stake in Miramax, the film was reissued on Blu-ray and DVD by Paramount Pictures Home Entertainment on September 22, 2020.[40] In 2023, Lionsgate announced that they had purchased the distribution rights to both Kill Bill films, along with Jackie Brown, and announced a UHD release for the film's 20th anniversary; all three films were released on Blu-ray and DVD on October 10, 2023, and in 4K on physical and digital on January 21, 2025, with both Kill Bill films upscaled to 4K.[41][42][43]

Reception

[edit]

On the review aggregator Rotten Tomatoes, Kill Bill: Volume 1 has a score of 85% based on reviews from 238 critics; the average rating is 7.70/10. Its consensus reads: "Kill Bill is admittedly little more than a stylish revenge thriller – albeit one that benefits from a wildly inventive surfeit of style."[44] At Metacritic, which assigns a weighted average score 69 out of 100 based on 43 reviews from mainstream critics, indicating "generally favorable" reviews.[45] Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.[46]

A. O. Scott of The New York Times wrote:

While being so relentlessly exposed to a filmmaker's idiosyncratic turn-ons can be tedious and off-putting, the undeniable passion that drives Kill Bill is fascinating, even, strange to say it, endearing. Mr. Tarantino is an irrepressible showoff, recklessly flaunting his formal skills as a choreographer of high-concept violence, but he is also an unabashed cinephile, and the sincerity of his enthusiasm gives this messy, uneven spectacle an odd, feverish integrity.[47]

Manohla Dargis of the Los Angeles Times called Kill Bill: Volume 1 a "blood-soaked valentine to movies. ... It's apparent that Tarantino is striving for more than an off-the-rack mash note or a pastiche of golden oldies. It is, rather, his homage to movies shot in celluloid and wide, wide, wide, wide screen — an ode to the time right before movies were radically secularized." She also recognized Tarantino's technical talent, but thought the film's appeal was too limited to popular culture references, calling its story "the least interesting part of the whole equation".[48] Roger Ebert of the Chicago Sun-Times gave it 4 out of 4, describing Tarantino as "effortlessly and brilliantly in command of his technique". He wrote: "The movie is not about anything at all except the skill and humor of its making. It's kind of brilliant."[49]

Cultural historian Maud Lavin states that the Bride's embodiment of revenge taps into viewers' personal fantasies of committing violence. For audiences, particularly women viewers, the character provides a complex site for identification with one's own aggression.[50]

Accolades

[edit]

Uma Thurman received a Golden Globe Best Actress nomination in 2004. She was also nominated in 2004 for a BAFTA Award for Best Actress in a Leading Role, in addition with four other BAFTA nominations. Kill Bill: Volume 1 was placed in Empire Magazine's list of the 500 Greatest Films of All Time at number 325 and the Bride was also ranked number 66 in Empire magazine's "100 Greatest Movie Characters".[51] In 2025, the film ranked number 61 on The New York Times' list of "The 100 Best Movies of the 21st Century" and number 48 on the "Readers' Choice" edition of the list.[52][53] Neither Kill Bill movie received any Academy Awards (Oscars) nominations.

Awards
Award Category Recipient(s) Outcome
57th British Academy Film Awards
Best Actress Uma Thurman Nominated
Best Editing Sally Menke Nominated
Best Film Music RZA Nominated
Best Sound Michael Minkler, Myron Nettinga, Wylie Stateman, and Mark Ulano Nominated
Best Visual Effects Tommy Tom, Kia Kwan, Tam Wai, Kit Leung, Jaco Wong, and Hin Leung Nominated
9th Empire Awards
Best Film Kill Bill: Volume 1 Nominated
Best Actress Uma Thurman Won
Best Director Quentin Tarantino Won
Sony Ericsson Scene of the Year The House of the Blue Leaves Nominated
61st Golden Globe Awards Best Actress – Motion Picture Drama Uma Thurman Nominated
2004 MTV Movie Awards[54] Best Female Performance Uma Thurman Won
Best Villain Lucy Liu Won
Best Fight Uma Thurman vs. Chiaki Kuriyama Won
2003 Satellite Awards
Best Art Direction/Production Design Kill Bill: Volume 1 Nominated
Best Original Screenplay Quentin Tarantino and Uma Thurman Nominated
Best Sound Kill Bill: Volume 1 Nominated
Best Visual Effects Kill Bill: Volume 1 Nominated
30th Saturn Awards
Best Action/Adventure Film Kill Bill: Volume 1 Won
Best Actress Uma Thurman Won
Best Supporting Actor Sonny Chiba Nominated
Best Supporting Actress Lucy Liu Nominated
Best Director Quentin Tarantino Nominated
Best Screenplay Quentin Tarantino Nominated
Genre Face of the Future Chiaki Kuriyama Nominated

Sequel

[edit]
Main article: Kill Bill: Volume 2

A direct sequel, Kill Bill: Volume 2, was released in April 2004. It continues the Bride's quest to kill Bill and the remaining members of the Deadly Viper Assassination Squad. Volume 2 was also a critical and commercial success, earning over $150 million.[55][56]

Legacy

[edit]

Kill Buljo is a 2007 Norwegian parody of Kill Bill set in Finnmark, Norway, and portrays Jompa Tormann's hunt for Tampa and Papa Buljo. The film satirizes stereotypes of Norway's Sami population. According to the Norwegian newspaper Dagbladet, Tarantino approved of the parody.[57]

The Pussy Wagon vehicle from Volume 1 made a cameo in the music video for Lady Gaga and Beyoncé's 2010 song "Telephone" at Tarantino's behest.[58] The 2023 single "Kill Bill" by the American singer-songwriter SZA was inspired by the film.[59]

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Kill Bill: Volume 1

View on Grokipedia
from Grokipedia
Kill Bill: Volume 1 is a 2003 American martial arts action film written and directed by Quentin Tarantino. Starring Uma Thurman as the Bride, a skilled assassin who awakens from a four-year coma following a brutal attack on her wedding day, the film depicts her relentless quest for vengeance against the Deadly Viper Assassination Squad and their leader, Bill (David Carradine), responsible for the massacre of her wedding party and the presumed death of her unborn child. Her journey takes her to Tokyo, where she battles the yakuza. The movie features a prominent ensemble cast, including Lucy Liu as O-Ren Ishii, Vivica A. Fox as Vernita Green, Daryl Hannah as Elle Driver, and Michael Madsen as Budd, with notable supporting performances by Julie Dreyfus, Chiaki Kuriyama, and Sonny Chiba. Released theatrically on October 10, 2003, by Miramax Films, it runs for 111 minutes and blends influences from Japanese samurai cinema, Hong Kong action films, and spaghetti Westerns, characterized by Tarantino's signature nonlinear storytelling, stylized violence, and eclectic soundtrack. Critically acclaimed for its innovative choreography, visual style, and Thurman's powerhouse performance, the film holds an 85% approval rating on Rotten Tomatoes based on 237 reviews, with praise for revitalizing the action genre. Kill Bill: Volume 1 earned Uma Thurman nominations for Best Actress in a Motion Picture – Drama at the 61st Golden Globe Awards and Best Actress in a Leading Role at the 57th British Academy Film Awards. It also secured the Saturn Award for Best Action/Adventure/Thriller Film, along with nominations for Best Actress and Best Supporting Actor, contributing to the film's total of 30 wins and 103 nominations across various ceremonies. As the first installment of a planned two-part saga—followed by Kill Bill: Volume 2 in 2004—the movie grossed over $180 million worldwide on a $30 million budget, cementing its status as a cultural milestone in 21st-century cinema. In November 2025, Lionsgate announced a limited theatrical re-release of Volumes 1 and 2 combined as Kill Bill: The Whole Bloody Affair on December 5, 2025.

Development

Writing Process

Quentin Tarantino and Uma Thurman conceived the Bride character during the production of Pulp Fiction in 1994. After completing Jackie Brown in 1997, he began developing the script in earnest, drawing on discussions with Uma Thurman to flesh out the central character known as the Bride. Thurman collaborated closely with Tarantino on the Bride's backstory, including the key car crash scene that leaves her in a coma and sets the revenge narrative in motion; this partnership is acknowledged in the film's end credits as "Based on the character of 'The Bride' created by Q. Tarantino & U. Thurman." The resulting screenplay expanded significantly, exceeding four hours in runtime and incorporating Tarantino's signature stylistic elements. To accommodate the length while preserving the full vision, Tarantino and producer Lawrence Bender decided to release the project as two separate volumes, with Kill Bill: Volume 1 focusing on the Bride's initial confrontations. This split was publicly announced in July 2003, allowing for a phased rollout that emphasized the episodic, chapter-based structure of the story. Central to Volume 1's script is its non-linear narrative, which unfolds across titled chapters—such as "Chapter 1: 2" and "Chapter 5: Showdown at House of Blue Leaves"—jumping between past and present to build tension around the protagonist's quest. This revenge motif drives the arc, centering the Bride's methodical elimination of her former colleagues in the Deadly Viper Assassination Squad, while withholding fuller resolution for the sequel.

Conceptual Influences

Kill Bill: Volume 1 draws heavily from spaghetti westerns, particularly Sergio Leone's Dollars Trilogy, which influenced the film's revenge-driven narrative and stark, desolate visual motifs, evoking the lone gunslinger's quest for justice in a lawless world. Tarantino has cited Leone's style as a foundational element, blending the moral ambiguity and explosive confrontations of these Italian-American co-productions into the protagonist's path of vengeance. Japanese samurai films, especially those by Akira Kurosawa such as Yojimbo and Seven Samurai, shaped the movie's themes of honor, betrayal, and ritualized combat, with the swordplay and code of the warrior directly informing the Deadly Viper Assassination Squad's dynamics. These influences manifest in the structured duels and the emphasis on personal vendettas, mirroring the ronin's solitary battles against corrupt powers in Kurosawa's epics. The 1973 Japanese film Lady Snowblood, directed by Toshiya Fujita and starring Meiko Kaji as the vengeful assassin Yuki Kashima, served as a direct homage and major influence on Kill Bill: Volume 1. Tarantino has openly credited it for inspiring the revenge narrative centered on a female protagonist seeking justice for personal tragedy, as well as stylistic elements like stylized violence and the integration of anime-inspired sequences in the Bride's backstory. According to actress Meiko Kaji, Tarantino required the cast and crew to watch Lady Snowblood during filming breaks to immerse them in its aesthetic and thematic essence. Hong Kong kung fu movies from the Shaw Brothers Studio, including classics like The 36th Chamber of Shaolin, provided the blueprint for the film's hyper-stylized martial arts confrontations and training montages, emphasizing disciplined mastery and visceral hand-to-hand combat. The studio's low-budget, high-energy productions inspired Tarantino to infuse Kill Bill with their raw intensity and ensemble fighter archetypes. The impact of anime is evident in the animated backstory sequence for O-Ren Ishii, stylistically drawing from Ghost in the Shell by Mamoru Oshii, which influenced the fluid action animation and cyberpunk-tinged revenge aesthetics. Produced by Studio I.G., known for Ghost in the Shell, this segment highlights Tarantino's admiration for anime's expressive violence and narrative experimentation. Homages to exploitation cinema and blaxploitation appear in elements like the yellow jumpsuit worn by the Bride during the House of Blue Leaves massacre, a direct nod to Bruce Lee's iconic outfit in Game of Death, symbolizing unyielding martial prowess amid gritty, genre-blending pulp fiction. These draw from 1970s B-movies' sensationalism and cultural mash-ups, extending to subtle French New Wave influences in the film's fragmented timeline and ironic detachment. Tarantino intended Kill Bill: Volume 1 to embody a grindhouse aesthetic, fusing these disparate genres into a cohesive tribute to overlooked cinematic underdogs, creating a "pastiche" that celebrates exploitation film's bold, unpolished energy. He described the project as a synthesis of grindhouse cinema he encountered in his youth, prioritizing homage over originality to revive these styles for modern audiences.

Production

Casting

Uma Thurman was cast as the protagonist known as The Bride, or Beatrix Kiddo, a role that originated from collaborative discussions between her and director Quentin Tarantino during the production of Pulp Fiction in 1994. Lucy Liu portrayed O-Ren Ishii, the leader of the Tokyo yakuza and a former member of the Deadly Viper Assassination Squad; Tarantino selected her after viewing her action-oriented performance in Shanghai Noon (2000), prompting him to adapt the character's background to fit Liu's Chinese-American heritage rather than casting a Japanese actress as initially planned. Vivica A. Fox played Vernita Green, another ex-Viper living under an alias as a suburban mother; Tarantino identified her suitability for the role's intense physical demands after watching DVD commentary extras from her work in Independence Day (1996), leading to a brief coffee shop meeting that confirmed her casting. David Carradine was cast as the titular Bill late in pre-production, following Warren Beatty's departure from the role; Beatty, Tarantino's initial choice, suggested Carradine during a meeting and agreed the part better suited the Kung Fu star's martial arts persona and on-screen presence. In supporting roles, Chiaki Kuriyama was chosen as Gogo Yubari, O-Ren Ishii's sadistic bodyguard, after Tarantino spotted her fierce performance as Takako Chigusa in the Japanese film Battle Royale (2000), incorporating the nod to that cult classic into his ensemble. Julie Dreyfus portrayed Sofie Fatale, O-Ren's multilingual lawyer and confidante, bringing her experience in international cinema to the character's poised yet vulnerable demeanor. The casting process faced logistical hurdles, including a several-month delay in starting production when Thurman became pregnant with her second child, as Tarantino insisted on waiting for her availability rather than recasting the lead.

Filming

Principal photography for both Kill Bill: Volume 1 and Volume 2 was conducted simultaneously, commencing on June 17, 2002, and continuing through early 2003, spanning multiple international locations to capture the film's diverse settings. Shooting occurred primarily in Southern California, including Los Angeles for interior sets and Pasadena for the hospital sequences at St. Luke's Hospital on 2632 E. Washington Street; Austin, Texas, for select exteriors; Mexico for arid desert landscapes; and Tokyo, Japan, where the House of Blue Leaves interior was recreated at a local studio to evoke the neon-lit Shinjuku district. The production faced logistical challenges, including adjustments to the filming schedule due to lead actress Uma Thurman's pregnancy, which postponed the start of principal photography. Additional delays arose from actor availabilities and the need to coordinate international crews, with Japanese and Chinese teams handling specific sequences in Asia. A significant on-set incident occurred during a reshot stunt sequence in Mexico in early 2003, when Thurman performed her own driving scene in a blue convertible for a sequence in Volume 2. The vehicle, operating on a dirt road at approximately 40 miles per hour, veered out of control and collided with a palm tree, resulting in severe injuries including a concussion, crushed knees, and permanent neck and spinal damage that required extensive hospitalization and physical therapy. Director Quentin Tarantino personally operated the camera-mounted truck following the stunt coordinator, later expressing profound regret for allowing the stunt despite Thurman's concerns about the car's condition and lack of proper safety harness. This accident halted production for several months, contributing to overall delays in completing the film. The fight sequences were choreographed by acclaimed Hong Kong action director Yuen Woo-ping, known for his work on films like Crouching Tiger, Hidden Dragon, who emphasized practical stunts, wire-assisted acrobatics, and minimal computer-generated imagery to achieve the film's dynamic, balletic combat style. Most scenes were captured on Super 35mm film stock using Panavision cameras and Primo anamorphic lenses for a high-contrast, vivid aesthetic, while the opening hospital sequence was shot in black and white to homage classic exploitation films and mitigate the visual impact of graphic violence. The embedded anime flashback, detailing O-Ren Ishii's backstory, was produced separately by Japanese studio Production I.G. as a self-contained animated segment rather than live-action footage.

Post-Production

The post-production of Kill Bill: Volume 1 was led by editor Sally Menke, who collaborated closely with director Quentin Tarantino to shape the film's distinctive rhythm and pacing. Menke condensed extensive raw footage from the production into a 111-minute runtime, incorporating chapter breaks and flashbacks to enhance the narrative's intensity and emotional depth. This process involved meticulous assembly of action sequences, ensuring that each cut amplified the film's visceral energy while maintaining Tarantino's vision of a revenge tale structured like a serialized graphic novel. The non-linear structure was finalized during editing, opening with the brutal wedding chapel massacre before shifting to the Bride's hospital escape four years later, creating a disorienting yet propulsive flow that builds suspense across fragmented timelines. This approach allowed Tarantino and Menke to experiment with temporal jumps in the cutting room, testing variations to determine the most impactful sequence for revealing the Bride's backstory and motivations. The result was a deliberate fragmentation that mirrors the protagonist's fractured psyche, drawing viewers into her quest without chronological linearity. Visual effects were kept minimal, relying primarily on practical techniques captured during filming, with post-production enhancements focused on refining blood squibs for hyper-stylized gore and wire work for dynamic fight choreography. Color grading played a key role in achieving the film's vibrant, anime-inspired palette, saturating hues in revenge sequences to evoke a heightened, almost surreal intensity while contrasting with desaturated tones in quieter moments. The decision to bleach the opening massacre scene lent it a faded, memory-like quality, underscoring the traumatic event's lingering horror. Sound design integrated seamlessly with the visuals, layering amplified impacts for combat and atmospheric cues to heighten tension, while accommodating multilingual dialogue in English, Japanese, and French through strategic subtitle placement. This multilingual approach reflected the film's international influences, with subtitles ensuring accessibility without disrupting the immersive audio mix. Post-production occurred after principal photography ended in early 2003, in preparation for the film's premiere later that year.

Music and Soundtrack

Score and Original Music

The original score for Kill Bill: Volume 1 was composed primarily by RZA, the producer and leader of the Wu-Tang Clan, in collaboration with Charles Bernstein, marking his first major film scoring project. RZA's contributions emphasized a sparse orchestral approach to heighten tension during key sequences, drawing influences from Ennio Morricone's spaghetti Western motifs while incorporating hip-hop production elements to sync with the film's action rhythms. This minimalist style, totaling approximately 15 minutes of custom music, focused on underscoring emotional and dramatic beats rather than dominating the narrative. The collaboration between RZA and director Quentin Tarantino began through their shared passion for kung fu cinema, evolving into a year-long process where they reviewed classic martial arts films together to inform the score's tone. Tarantino provided temporary tracks from his extensive collection, which RZA adapted by blending electronic hip-hop beats with orchestral arrangements to match the film's stylized violence and pacing. Among the original cues, RZA created "Ode to O-Ren Ishii," a haunting piece featuring orchestral swells and rhythmic percussion that accompanies the film's anime sequence depicting the backstory of the character O-Ren Ishii, fusing traditional Japanese instrumentation with modern electronic textures. RZA's score integrated seamlessly into the film's post-production, enhancing pivotal moments such as the Bride's awakening from her coma, where subtle string motifs build suspense without overpowering the visuals. This targeted use of original music complemented the broader soundtrack curation, prioritizing atmospheric support for Tarantino's homages to exploitation and martial arts genres.

Licensed Songs and Compilation

The licensed songs in Kill Bill: Volume 1 consist of an eclectic array of pre-recorded tracks primarily from the 1960s and 1970s, selected by director Quentin Tarantino to amplify the film's stylistic and emotional layers. These songs, drawn from genres including surf rock, spaghetti western soundtracks, and Japanese pop, underscore key sequences without original composition, distinguishing them from the film's bespoke score. Tarantino has described his approach as treating music as an integral narrative tool, choosing tracks that evoke specific moods and cultural references to heighten tension or whimsy. Prominent examples include Nancy Sinatra's 1966 rendition of "Bang Bang (My Baby Shot Me Down)", which accompanies the opening credits and establishes the Bride's vengeful persona through its brooding lyrics and melody. Luis Bacalov's "The Grand Duel (Parte Prima)" (1972) plays during the Bride's drive in the yellow Pussy Wagon, infusing the scene with a gritty, cinematic flair reminiscent of Italian westerns. Other notable selections feature Charlie Feathers' raw rockabilly track "That Certain Female" (1956), which heightens the intensity of an early confrontation. Tarantino further illustrates his curation philosophy with Al Hirt's upbeat "Green Hornet Theme" (1966), used in the suburban fight against Vernita Green to contrast domestic normalcy with explosive violence, creating ironic emotional resonance. A particularly iconic use of a licensed track is the whistling of the theme from Bernard Herrmann's score for the 1968 film Twisted Nerve by Elle Driver (Daryl Hannah) during the hospital scene. This was Quentin Tarantino's idea; he discovered the haunting melody at his Austin film festival, where it left a lasting impression on attendees, and provided the film Twisted Nerve as direct inspiration to Daryl Hannah for her character's menacing entrance. The official soundtrack album, Kill Bill Vol. 1 Original Soundtrack, compiles 17 of these licensed tracks along with dialogue snippets and sound effects, released on September 23, 2003, by Maverick Records in collaboration with Tarantino's A Band Apart Records. It debuted at number 45 on the Billboard 200 and topped the Soundtrack Albums chart, eventually earning Gold certification from the RIAA for 500,000 units shipped in the United States. The album's success reflects the film's influence in reviving interest in obscure and vintage recordings, though some tracks like Bacalov's were finalized late in post-production due to licensing timelines, prompting minor edits to the sequence timings.

Style and Technique

Visual Aesthetics

The visual aesthetics of Kill Bill: Volume 1 are defined by the cinematography of Robert Richardson, who employed Panavision Platinum cameras in Super 35mm format to achieve a widescreen aspect ratio of 2.39:1, allowing for expansive compositions that emphasize both intimate character moments and sweeping action sequences. This format, configured for 3-perf pull-down with Primo anamorphic lenses, facilitated a dynamic visual language that pays homage to exploitation and martial arts cinema while incorporating modern technical precision. The film's bold color palette serves as a narrative tool, with vibrant reds dominating scenes of violence to heighten the visceral impact of blood sprays and confrontations, symbolizing rage and retribution. The Bride's iconic yellow tracksuit, inspired by Bruce Lee's attire in Game of Death, provides a striking contrast that anchors her presence amid chaotic fights, evoking energy and determination. A distinctive stylistic element is the anime interlude, "Chapter 3: The Origin of O-Ren," directed by Kazuto Nakazawa at Production I.G studios, which runs approximately five minutes in the film and stylizes O-Ren Ishii's backstory through fluid animation, bridging live-action revenge motifs with Japanese anime traditions to contextualize the ensuing Crazy 88 confrontation. Transitional devices like split-screens, seen in the hospital assassination attempt, heighten tension by juxtaposing simultaneous actions, while iris wipes evoke classic cinema wipes for chapter breaks, reinforcing the film's episodic structure. Homages to Technicolor processes infuse the visuals with saturated, heightened hues reminiscent of 1950s musicals and thrillers, amplifying the artificiality of violence as spectacle. Lighting varies dramatically by setting: high-contrast illumination bathes Tokyo's neon-drenched streets in vivid, electric glows to underscore urban menace, while desaturated tones in the snowy garden showdown create a stark, ethereal atmosphere for the climactic duel.

Action Choreography

The action choreography of Kill Bill: Volume 1 was led by acclaimed martial arts director Yuen Woo-ping, whose expertise in blending fluid, acrobatic movements with dramatic flair elevated the film's combat sequences. Known for his work on The Matrix trilogy, Yuen coordinated the stunt work to integrate Eastern martial arts techniques, emphasizing precision swordplay and dynamic group battles while minimizing reliance on CGI in favor of practical effects and performer skills. A pivotal sequence unfolds at the House of Blue Leaves nightclub, where the Bride confronts O-Ren Ishii's elite squad, the Crazy 88—a gang of yakuza warriors armed with katanas. This extended melee showcases intricate choreography, including wire-assisted flips, spins, and multi-opponent duels that highlight the Bride's agility against overwhelming odds, transforming the nightclub into a chaotic battlefield of slashes and acrobatics. Yuen assembled a team of trained fighters for the extras, ensuring synchronized movements that convey both menace and theatricality. In contrast, the earlier confrontation with Vernita Green occurs in a confined suburban kitchen, shifting to raw, close-quarters combat with knives and improvised household items like cereal boxes, underscoring the characters' resourcefulness and personal vendetta in a space devoid of elaborate weaponry. The film's climactic duel between the Bride and O-Ren Ishii takes place in the club's snowy garden, a poised sword fight that draws on the poised, honor-bound aesthetics of classic Japanese chanbara films, evoking the blind swordsman Zatoichi through its emphasis on skill, tension, and fatal precision. Sword master Tetsuro Shimaguchi contributed to this sequence's choreography, focusing on authentic iaijutsu draws and parries amid the wintry setting. Lead actress Uma Thurman prepared rigorously for these demands, training eight hours daily for three months in multiple kung fu styles and sword fighting techniques, despite the inherent injury risks of wielding live blades and performing high-impact stunts. Yuen's philosophy prioritized exaggerated, balletic violence over gritty realism, using slow-motion dismemberments and heightened physicality to stylize the carnage as operatic spectacle rather than mere brutality, a nod to Hong Kong wuxia traditions where combat serves narrative poetry. This kinetic design briefly intersects with the film's visual aesthetics through deliberate framing that amplifies the balletic flow of the fights.

Release

Premiere and Marketing

Kill Bill: Volume 1 had its world premiere at the 2003 Toronto International Film Festival on September 7, 2003, generating significant buzz among film enthusiasts for its stylistic homage to martial arts cinema. The film then received a limited release in the United States on October 10, 2003, distributed by Miramax Films. Miramax's marketing campaign emphasized the film's anime influences and high-octane action sequences through teasers and trailers that highlighted Uma Thurman's character in her iconic yellow jumpsuit wielding a katana. Posters featured a bloody silhouette of the Bride, evoking classic exploitation film aesthetics, while tie-ins included a manga adaptation released in Japan to appeal to comic and anime fans. Promotional efforts also incorporated viral elements, such as replicas of the Pussy Wagon truck, which Quentin Tarantino himself drove during events to draw attention to the film's quirky details. The campaign targeted action and cult film audiences through targeted advertising and merchandise. The campaign faced controversy when the Motion Picture Association of America initially rated the film NC-17 due to its extreme violence, particularly in the House of Blue Leaves massacre scene. To secure an R rating, Tarantino desaturated the colors in the most graphic sequences, turning them black-and-white to reduce the visual impact of the gore without altering the content. Tarantino defended the film's violence as an artistic choice, describing it as "fun" and integral to the revenge fantasy genre, arguing that it stylized rather than glorified brutality. Promotional tours included appearances by Tarantino and the cast at San Diego Comic-Con in 2003, where the director hosted a panel discussing the film's influences and previewing footage to engage genre fans.

Theatrical Distribution

Kill Bill: Volume 1 received its wide theatrical release in the United States on October 10, 2003, distributed by Miramax Films across 3,102 screens. The rollout began with a limited engagement on the same date before expanding nationwide, marking Quentin Tarantino's return to directing after a six-year hiatus. Internationally, the film expanded starting in October 2003, with premieres in Europe including Germany on October 10 and the United Kingdom on October 17, followed by Asia, notably Japan on October 25. In Japan, a localized version featured Japanese dubbing for accessibility, alongside subtitles for the original English dialogue. Distribution faced notable censorship challenges in several markets due to the film's graphic violence and gore. In Germany, an edited version was required to meet FSK rating standards, with approximately 62 seconds of cuts across 17 scenes to tone down excessive bloodshed. South Korea's Media Ratings Board issued a restricted rating in November 2003, citing the film's intense violence, which limited screenings to designated theaters and effectively postponed its full rollout amid industry backlash. In contrast, the United Kingdom released the film uncut with a BBFC 18 certificate, preserving all original content without alterations. The standard theatrical runtime was 111 minutes, though variations existed, including a slightly extended Japanese cut with restored color footage in the House of Blue Leaves sequence, adding about two minutes for a total of 112 minutes. Longer festival screenings occasionally featured preview edits closer to 125 minutes, incorporating additional footage not in the final release. Miramax handled initial global distribution, but the 2005 split from Disney led to the formation of The Weinstein Company, which acquired certain international rights and influenced subsequent re-releases and ancillary handling of the film in select territories. In October 2025, Lionsgate announced the first-ever nationwide theatrical release of Kill Bill: The Whole Bloody Affair, a combined presentation of Volumes 1 and 2 running 281 minutes (including intermission), scheduled for December 5, 2025. The rollout includes special screenings in 70mm and 35mm formats.

Home Media

Kill Bill: Volume 1 was first released on DVD by Miramax Home Entertainment on April 13, 2004, as a single-disc edition featuring a 20-minute making-of featurette, interviews with cast and crew, and theatrical trailers. The release proved highly successful, selling 2 million units on its debut day and generating approximately $40 million in revenue, marking one of the strongest home video launches at the time. A combined four-disc DVD set pairing Volume 1 with Volume 2 followed in 2005, providing enhanced special features including extended behind-the-scenes content for both films. The Blu-ray edition arrived on September 9, 2008, delivering a high-definition transfer of the film's distinctive visuals alongside the original DVD supplements. Digital distribution expanded the film's accessibility, with Volume 1 added to Netflix in 2019 before cycling through various platforms. It joined Disney+ in select markets in February 2025, coinciding with renewed interest ahead of the 20th anniversary re-release of the combined saga. Special editions have included a 4K UHD Blu-ray release on January 21, 2025, from Lionsgate, featuring a remastered presentation in Dolby Vision and HDR10. A limited steelbook variant of this edition incorporated collectible art cards, appealing to fans seeking premium physical media. Additionally, Imprint Films released a limited edition 4K UHD + Blu-ray set combining both volumes on December 10, 2025, with Dolby Vision/HDR10, extensive extras, and lenticular packaging. By 2010, cumulative DVD sales exceeded 5 million units worldwide, significantly bolstering the film's overall profitability through ancillary markets.

Commercial Performance

Box Office

Kill Bill: Volume 1 earned $22.2 million during its opening weekend of October 10–12, 2003, across 3,102 theaters in the United States, securing the #1 position at the domestic box office. In its second weekend (October 17–19), the film grossed $12.5 million, dropping to #2 behind The Texas Chainsaw Massacre while demonstrating solid word-of-mouth momentum with a 44% decline from its debut. The picture maintained steady performance over subsequent weeks, benefiting from positive buzz that supported its theatrical run. Over its full domestic release, the film accumulated $70.1 million, with international markets contributing $110.8 million for a global total of $180.9 million against a production budget of $30 million. This represented a strong financial return, particularly overseas where stylized action sequences resonated with audiences.
MarketGross
Domestic$70.1 million
International$110.8 million
Worldwide$180.9 million
Compared to its sequel, Kill Bill: Volume 2, which earned $152.2 million worldwide, Volume 1 achieved higher overall earnings. Adjusted for inflation to 2025 dollars, the film's domestic gross equates to approximately $131 million, underscoring its enduring commercial scale in today's terms.

Ancillary Revenue

The home video release of Kill Bill: Volume 1 generated substantial ancillary revenue shortly after its April 13, 2004, debut, with consumers spending approximately $40 million on the first day alone through sales of over 2 million combined DVD and VHS units. By the end of the first week, total spending on purchases and rentals reached about $80 million, equivalent to roughly 4 million copies sold, surpassing the film's domestic theatrical gross of $70 million and highlighting the era's booming DVD market. These figures, drawn from Miramax Home Entertainment and Buena Vista Home Entertainment reports, underscore the film's strong performance in secondary markets by 2005, where cumulative video sales and rentals exceeded $100 million. The original soundtrack album, released on September 23, 2003, by Maverick Records, contributed further to ancillary earnings through physical sales totaling 975,000 units across nine countries, with the strongest performance in the United States (500,000 copies) and France (200,000 copies). This success positioned it as a key licensing product, peaking at No. 1 on the Billboard soundtracks chart despite no U.S. RIAA certification beyond international awards like Australia's Gold (35,000 units). Merchandise licensing deals expanded the film's revenue streams, including katana sword replicas inspired by Hattori Hanzō blades, apparel featuring iconic imagery, and die-cast toy models of the Pussy Wagon truck, produced by manufacturers like Greenlight. Tie-in publications, such as the 2004 Dark Horse Comics manga adaptation illustrated by Kazuo Kamimura, further diversified ancillary income through comic book licensing, though specific sales metrics remain undisclosed in industry reports. Post-2010 streaming residuals from platforms like Netflix have added to the franchise's long-term value, with ongoing digital availability contributing to ancillary earnings. In October 2025, a theatrical re-release of the combined Kill Bill films as the unrated 4-hour The Whole Bloody Affair was announced for December 5, 2025, in select theaters, potentially generating additional revenue.

Reception

Critical Response

Upon its release, Kill Bill: Volume 1 received generally positive reviews from critics, earning an 85% approval rating on Rotten Tomatoes based on 238 reviews, with an average rating of 7.7/10. On Metacritic, it holds a score of 69 out of 100 from 43 critics, indicating "generally favorable" reception. Critics widely praised Quentin Tarantino's distinctive stylistic flair, Uma Thurman's commanding performance as The Bride, and the film's innovative approach to action sequences. Roger Ebert awarded it four out of four stars, describing the violence as "exhilarating" and the film as a brilliant showcase of Tarantino's technical command and humor. Empire magazine gave it four out of five stars, lauding its masterful homages to martial arts cinema and grindhouse aesthetics. However, some reviewers criticized the film's protracted fight scenes, perceived misogynistic undertones in its portrayal of female characters, and superficial plot depth. Manohla Dargis of the Los Angeles Times noted that the movie "stops dead in its tracks," disrupting its rhythm with overly extended action and abrupt pacing. Others, including analyses in film journals, highlighted concerns over the film's reliance on exploitative tropes that undermine its female empowerment themes despite the strong lead. In retrospective evaluations marking the film's 20th anniversary in 2023, critics increasingly emphasized its feminist revenge narrative, viewing The Bride's journey as a subversive take on genre conventions. For instance, a review in The Michigan Daily celebrated it as "the female revenge genre at its best," crediting Tarantino's direction for amplifying themes of agency and retribution through Thurman's portrayal. In 2025, the film received a 4K UHD restoration and release, further cementing its legacy with enhanced visual appreciation of its stylized action. This shift contrasts with some initial 2003 responses that focused more on stylistic excess over narrative substance.

Accolades

Kill Bill: Volume 1 received widespread recognition for its stylistic action sequences, performances, and direction, earning 30 awards and 103 nominations across various ceremonies. Uma Thurman garnered significant acclaim for her portrayal of the Bride, securing a nomination for Best Actress in a Motion Picture – Drama at the 61st Golden Globe Awards. She also received a nomination for Best Actress in a Leading Role at the 57th British Academy Film Awards (BAFTA). At the 30th Saturn Awards, the film won Best Action/Adventure/Thriller Film, with Thurman earning Best Actress; it was further nominated for Best Director for Quentin Tarantino, and Sonny Chiba won Best Supporting Actor for his role as Hattori Hanzō. The 2004 MTV Movie Awards honored the film with wins for Best Female Performance (Thurman), Best Villain (Lucy Liu as O-Ren Ishii), and Best Fight for Thurman's duel against Gogo Yubari (Chiaki Kuriyama).

Legacy

Cultural Impact

Kill Bill: Volume 1 has left a lasting mark on popular culture through its iconic visual elements, particularly The Bride's yellow tracksuit, which has been widely replicated in fashion. The film's signature outfit, inspired by Bruce Lee's attire in Game of Death, influenced collaborations such as Nike's 2023 release of the Cortez sneaker in yellow and black, evoking the tracksuit's bold aesthetic and sparking renewed interest among sneaker enthusiasts. Similarly, the katana wielded by The Bride has emerged as a potent symbol of female empowerment, representing resilience and retribution in narratives of personal vengeance, as explored in analyses of the film's themes of female agency. The movie's stylistic flair has permeated media references and homages. It was parodied in Family Guy, notably in the 2017 episode "Three Directors," which styled a scene after Quentin Tarantino's signature violence, mimicking the film's intense sword fights. Atomic Blonde (2017) drew inspiration from Kill Bill's action choreography and strong female lead, with Charlize Theron's character engaging in brutal, extended fight sequences reminiscent of Uma Thurman's vengeful rampages. Marking its 20th anniversary in 2023, the film saw renewed theatrical screenings and cultural reevaluation, including discussions tying its revenge narrative to the #MeToo movement's focus on justice for survivors of violence. Articles and retrospectives highlighted how The Bride's story of reclaiming power through vengeance resonated with contemporary gender discourse, sparking debates on the female vengeance trope as both empowering and complex. Globally, Kill Bill: Volume 1 achieved cult status, particularly in Asia, where its homage to martial arts cinema contributed to a revival of interest in the genre by blending Eastern tropes with Western storytelling. The character Gogo Yubari has inspired viral memes and edits on platforms like TikTok since 2020, often recreating her chain-whip duel in humorous or aesthetic contexts.

Influence on Film and Media

Kill Bill: Volume 1 played a pivotal role in revitalizing grindhouse cinema aesthetics within mainstream action films, emphasizing stylized violence, revenge-driven narratives, and empowered female protagonists. The film's homage to exploitation and B-movie tropes from the 1970s, combined with high production values, encouraged a resurgence of similar lowbrow-high-art hybrids in subsequent decades. This revival extended to women-led action genres, where the character of The Bride served as a template for fierce, unapologetic heroines wielding martial prowess. The influence is evident in the John Wick series (2014–present), which adapts elements of Tarantino's revenge framework, particularly the protagonist's methodical pursuit of vengeance against a criminal underworld. In John Wick: Chapter 4 (2023), the narrative echoes Kill Bill's setup for extended vendettas, blending balletic gun-fu with personal stakes akin to The Bride's odyssey. Similarly, Sisu (2022), directed by Jalmari Helander, draws on Tarantino's over-the-top pulp sensibilities for its World War II-era tale of relentless Nazi-slaying, with the director explicitly citing influences from the director's oeuvre in crafting its grindhouse-inspired carnage. Helander's film amplifies the lone warrior archetype through exaggerated, practical violence, mirroring Kill Bill's fusion of historical grit and fantastical excess. Tarantino's commitment to practical stunts and choreography over CGI in Kill Bill elevated the craft of physical action sequences, influencing a shift toward tangible effects in contemporary cinema. The film's collaboration with choreographer Yuen Woo-ping prioritized wire work and real-time combat, setting a benchmark that prioritized authenticity and kinetic energy. This approach impacted genre-blending projects like The Man with the Iron Fists (2012), directed by RZA, which melds kung fu traditions with Western elements in a manner reminiscent of Kill Bill's stylistic homage to Shaw Brothers films. RZA's work, backed by Tarantino as producer, explicitly channels the earlier film's devotion to martial arts mayhem and narrative flair. Recent scholarly analyses in 2025 have examined Kill Bill's postmodern violence through the lens of evolving cinematic trends, including its resonance in post-pandemic action narratives. Studies highlight how the film's nonlinear structure and stylized brutality prefigured fragmented storytelling in revenge tales, fostering a conceptual framework for violence as both aesthetic and cathartic in disrupted social contexts. For instance, explorations of Tarantino's techniques underscore their role in redefining empowerment through gore, influencing ongoing debates on gender and aggression in film.

Connection to Sequel

Kill Bill: Volume 1 concludes on a cliffhanger as the Bride (Uma Thurman) arrives at Bill's (David Carradine) hacienda in Mexico, having dispatched her former Deadly Viper Assassination Squad subordinates, including Vernita Green, O-Ren Ishii, and Budd, thereby setting up the direct confrontation in the sequel. Originally conceived and shot by Quentin Tarantino as a single four-hour film, Kill Bill was divided into two volumes due to its excessive runtime, with Volume 1 emphasizing visceral action sequences and Volume 2 shifting to a more dialogue-driven narrative exploring character backstories and emotional depth; the latter premiered on April 16, 2004. In 2025, Tarantino oversaw the first wide theatrical release of Kill Bill: The Whole Bloody Affair, a 4K remastered, unrated combination of both volumes running 281 minutes, debuting on December 5. The sequel maintains strong production continuity, featuring key overlapping cast members such as Thurman reprising her role as the Bride and Carradine debuting as Bill, alongside supporting actors like Michael Madsen and Daryl Hannah. Editor Sally Menke's work across both volumes ensured a cohesive stylistic vision, blending Tarantino's homages to exploitation cinema, martial arts films, and Westerns through rhythmic pacing and genre-specific cuts that unified the diptych's tone. Critically, Volume 1's hyper-stylized action contrasted with Volume 2's dramatic introspection, creating a complementary dynamic that enhanced the overall reception of the saga as a bold, genre-reviving epic and solidified its enduring legacy as Tarantino's most ambitious revenge tale. As of 2025, no further sequels have been announced, though Tarantino commented in 2019 on discussions with Thurman about a potential third installment focusing on the Bride's daughter as an adult.

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  36. https://www.npr.org/sections/thetwo-way/2018/02/06/583850245/tarantino-says-uma-thurman-s-car-stunt-was-one-of-the-biggest-regrets-of-my-life
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  39. https://movies.stackexchange.com/questions/70907/how-was-the-high-contrast-cinematography-done-in-kill-bill
  40. https://www.productionig.com/contents/works_sp/25_/
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  43. https://www.yardbarker.com/entertainment/articles/20_facts_you_might_not_know_about_kill_bill_vol_1_2/s1__35703551
  44. https://www.theguardian.com/film/2009/dec/06/sally-menke-quentin-tarantino-editing
  45. https://www.grammy.com/news/rza-wu-tang-clan-bobby-digital-saturday-afternoon-kung-fu-theater-interview
  46. https://www.interviewmagazine.com/film/rza-the-man-with-the-iron-fists
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  51. https://nofilmschool.com/tarantino-music-art
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  56. https://www.ign.com/articles/2003/10/08/daryl-hannah-talks-kill-bill
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  58. https://www.billboard.com/charts/soundtracks/2004-09-11/
  59. https://www.rolandnote.com/artist-timeline/Charlie%2BFeathers
  60. https://www.discogs.com/release/881718-Various-Kill-Bill-Vol-1-Original-Soundtrack
  61. https://theasc.com/articles/kill-bill-a-bride-vows-revenge
  62. https://3guysandaflick.com/index.php/2023/05/18/exploring-kill-bill-volume-1s-diverse-filming-techniques/
  63. https://www.streamsemester.com/articles/post-template-2pc8r-xeggp
  64. https://www.productionig.com/contents/works/02_/000029.html
  65. https://www.scribd.com/presentation/337602912/Kill-Bill-Use-of-Split-Screen
  66. https://indiefilmhustle.com/ultimate-guide-to-quentin-tarantino-and-his-directing-techniques/
  67. https://variety.com/2004/film/markets-festivals/choreography-noms-named-1117908969/
  68. https://www.easternkicks.com/features/yuen-woo-ping-interview/
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  73. https://www.youtube.com/watch?v=7kSuas6mRpk
  74. https://movieposters.ha.com/itm/movie-posters/action/kill-bill-vol-1-miramax-2003-rolled-very-fine-commercial-poster-24-x-36-action/a/162141-52237.s
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  76. https://collider.com/movies-almost-rated-nc-17/
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  83. https://www.movie-censorship.com/report.php?ID=1588
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  134. https://www.ign.com/articles/2019/07/22/kill-bill-volume-3-quentin-tarantino-and-uma-thurman-are-discussing-a-possible-sequel
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