Fire Birds (1990)

“Revenge is a dish best served cold.” This sentence (straight out of 1982’s “Star Trek II: The Wrath of Khan” ) opens writer/director Quentin Tarantino’s Kill Bill: Volume 1, a film of great energy and versatility. Like a giddy schoolboy at recess, Tarantino crafts an admirable cinematic playground, complete with breathtaking action, cool characters, and colorful scenarios. Like Sergio Leone before him, Tarantino showcases an iconic warrior of cinema, destined to entertain fans for generations. Uma Thurman is his Clint Eastwood, and as a whole, the Kill Bill universe is a roaring rampage of frontier-like savagery. Together, Tarantino and Thurman take us on an outrageously brilliant ride that blends eastern and western sensibilities.

Of course, Kill Bill: Volume 1 falls into the revenge movie sub-genre. The story is very simple. After being beaten to a pulp and left for dead at her wedding rehearsal, the Bride (Uma Thurman) lies in a comatose state. Four years later, she awakens from her long slumber. Consumed by vengeance, she embarks on a journey that will pit her against former comrades. As she takes out these opponents, she gets closer and closer to her final target, Bill, the man who set this violent scenario into motion.

Best of all, Tarantino’s film is a celebration of female formidability and foreign inclusiveness. Thurman’s icy yet charming performance is a sight to behold. At times, her genuine charm permeates specific frames, ushering in further levels of empathy. Other times, her viscous individualism sets the groundwork for ensuing set pieces. When these scenes transpire, Thurman’s commitment to stunt work ups the visceral ante of each fight sequence, pushing the film into a state of exceptional practicality.

Clearly, everyone loves the Bride’s formidability. Watching her cut through corrupt opponents is extremely exciting. But overall, the Bride’s resolve stands out. Her most memorable moments come from the reaches of vulnerability. In other words, when she is pushed to the brink of death, she quickly adjusts, gaining the upper hand in the darkest of moments. That’s why she is empowering. She represents the importance of being completely in the moment, telling women everywhere that circumstances can be altered through the prism of intellectual resolve.

Next, we have Vernita Green, portrayed by Vivica A. Fox, a talented African American actress. At the onset of the film, we walk into a world that resembles blaxploitation cinema. Fox, with her swagger and forceful language, possesses Pam Grier-like sass, properly contributing to a well executed fight sequence and an intriguing conversation between foes. Lucy Liu, an Asian American actress, wonderful portrays the character of O-Ren Ishii, a leader amongst men. Like Thurman, Liu fits into an archetypal role often tailored for men, and she does a wonderful job. In a role that is extremely over the top, Liu plays it completely straight, giving us a memorable villain who always means business. During the climax, she battles Thurman to the death, in a setting that resembles Toshiya Fujita’s “Lady Snowblood” (1973).