It's examining how Tarantino catalogues the great stylistic elements of his favorite 'old-school' filmmakers and transforms them into a phenomenally creative and mesmerizing film. It's almost as if I'm watching a colorful and bloodied kabuki stage that's displaying a stunningly massive tournament of multi-layered kung-fu and female samura sword-fighting styles to dazzle the audience. It celebrates the Tarantino trademark of avoiding the use of computer-generated CGI special effects. Or is The Bride 'Just another little Western girl playing at being a samurai' - as O-Ren Ishii blatantly puts it? This film's a sampling of the Tarantino 'fury,' short of the Tarantino customary fiery tongue. Perhaps, Uma Thurman in her yellow suit is a salute to the yellow-suited Bruce Lee in his last film, The Game of Death. Observe the `Carrie' blank-starry eyed image settled on The Bride's gory face as she's introduced to the audience. It's impossible not to smile over the Shaw Bros.' iconic introduction ploy and the De Palma-esque split screens. Like in all his films, Tarantino never fails to merge dark humor with terror.
Can anyone expect Tarantino's movie not to be a true mind-blowing, adrenaline-pumping shocker? Of course not! Gritty and slick, his first installment of KB rocks with moody western imagery, the '60s and '70s-era of Hong Kong martial arts-action, the influences of the ritualistic samurai swordsmanship, and Japanese anime. Sure it's outlandishly violent and bloody.
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