Directed by Kazuhiko Yamaguchi and written by Masahiro Kakefuda and Norifumi Suzuki, Sister Street Fighter is the story of a woman who is aided by a man to fight off a drug lord and his gang who had kidnapped her brother. A spin-off of the Street Fighter film series, the film is a kung-fu adventure that has a woman going nuts on a bunch of fighters who kidnapped and drugged her brother. Starring Etsuko Shihomi, Sonny Chiba, and Hiroshi Miyauchi. Sister Street Fighter is a ridiculous yet exhilarating film from Kazuhiko Yamaguchi.
A martial arts champion is kidnapped by a drug lord during an investigation prompting his younger sister to go find him where she deals with a drug dealer’s gang of thugs as she fights them off. It’s a film with a simple premise that play into a woman trying to find her brother with the help of her uncle, her cousins, a martial arts master, and a few others in Yokohama as it relates to this drug lord’s operation involving heroin. The film’s screenplay does have a traditional structure as it would play into the journey that Tina Long (Etsuko Shihomi) is doing in trying to find her older brother Lee (Hiroshi Miyauchi) who was working for the Hong Kong police force undercover. Yet, Lee has disappeared believing that he’s been captured forcing Tina to find out what is going on as it’s something bigger than herself with Lee being another victim of this drug lord’s ambitions.
Kazuhiko Yamaguchi’s direction is stylish for some of the compositions he creates which includes some of the fight scenes in the film. Shot largely in Japan with a few shots in Hong Kong, Yamaguchi maintains a simplicity in the drama and suspense as it play into Tina’s investigation on her brother’s whereabouts that lead to the works of the drug lord in Kaki (Bin Amatsu). Yamaguchi would use some wide shots to establish the locations as he emphasizes more on medium shots and close-ups for the intimate moments as well as the presentation of the fight scenes that include a few slanted angles in some parts. Even as Yamaguchi would showcase some of the thugs that Tina has to face as it adds to the ridiculous elements of the film while there are also darker moments in some of the character deaths as well as one key scene that is intense as it play into the drama. It would climax in a battle that is intense as well as play into some of the silliness as Yamaguchi knows it is over-the-top but it’s all for the good of entertainment. Overall, Yamaguchi crafts an exciting and thrilling film about a woman taking down a drug lord to save her older brother.
Cinematographer Yoshio Nakajima does excellent work with the film’s cinematography with its grainy film stock and usage of low-key lights for some of the scenes set at night. Editor Osamu Nakata does nice work with the editing as it is straightforward with some rhythmic cuts for some of the film’s action scenes including some slow-motion cuts. Production designer Shuichiro Nakamura does fantastic work with the look of some of the places including a ballet studio and the home of Kaki. The film’s music by Shunsuke Kikuchi is wonderful for its mixture of funk and bombastic brass orchestral arrangements to play into the action as it also include some traditional Japanese string and percussion music.
The film’s superb cast include some notable small roles from Harry Kondo as Tina’s uncle, Tatsuya Nanjo and Nami Tachibana in their respective roles as Tina’s cousins Jerry and Remi, Xie Xiu-Rong as Lee’s partner Fanny who barely survived her escape, Asao Uchida as a martial arts master in Tetsuo Fujita, May Hayakawa as Fujita’s prized student Emmy Kawasaki who helps Tina out, Sanae Ohori as the ballet teacher Shinobu Kojo who is also a master that helps Tina out, Shohei Yamamoto as a top associate of Kaki in Ryozo Hayashi, Milton Ishibashi as a mercenary Hayashi hires in Hammerhead, and Bin Amatsu in a terrific performance as the slimy drug lord Kaki. Hiroshi Miyauchi is wonderful in his small role as Tina’s brother Lee as a martial arts champ/Hong Kong undercover cop who gets captured as he tries to stop Kaki.
Sonny Chiba is brilliant as Sonny Hibachi as another of Fujita’s gifted students who wants to stop Kaki as he arrives whenever Tina needs help where he just fucks everything up in his path. Finally, there’s Etsuko Shihomi in an amazing performance as Tina Long as a martial arts expert who goes on a search for her brother as she faces immense challenges yet proves to be someone that can overcome these challenges as it’s a performance full of charm as well as ferocity.
Sister Street Fighter is a marvelous film from Kazuhiko Yamaguchi. Featuring a great cast, exciting action, and moments that never takes itself seriously in its approach to violence. Even as it uses its simple premise and low-budget aesthetics to create something that isn’t afraid of being silly or over-the-top. In the end, Sister Street Fighter is a remarkable film from Kazuhiko Yamaguchi.
Related: The Street Fighter - Return of the Street Fighter - (The Street Fighter’s Last Revenge)
© thevoid99 2018
Directed by Shigehiro Ozawa and written by Hajime Koiwa with English dialogue by Steve Autry, Return of the Street Fighter is the sequel to the 1974 film The Street Fighter in which Takuma “Terry” Tsurugi goes on a war against the Yakuza for stealing money from charities. The film has Tsurugi trying to be the hero despite his anti-hero persona as he is once again played by Sonny Chiba. Also starring Yoko Ichiji and Masashi “Milton” Ishibashi. Return of the Street Fighter is a wild and stylish film from Shigehiro Ozawa.
The film is the story of this mercenary in Takuma “Terry” Tsurugi who continues to do work for money where he finds himself targeted by the Yakuza after refusing to kill a master who is suspicious of the organization taking money away from charities. It’s a film with a simple plot as it play into this man who is once again set up after refusing to kill someone he actually admires as well as the fact that he is also on the run from the police for killing two men he was hired to kill. Even as it plays into the world of corruption where a Yakuza boss is trying to embezzle money for a martial arts institute in Tokyo for Asia which was really a front for his organization. When the karate master Kendo Masaoka (Masafumi Suzuki) discovers his name being forged, he starts to question things and nearly gets killed prompting Tsurugi to do what is right as he would also go against an old foe.
Shigehiro Ozawa’s direction is quite simple while it is also very stylized in his compositions and the way he presents the action sequences. Shot largely in Tokyo, Ozawa’s direction has this immediacy in the opening sequence as it relates to the job that Tsurugi is being asked as it play into that sense of frenetic action and chaos. Even as it isn’t afraid to play into its low-budget aesthetics where there are moments where the violence is silly and fake blood is shown. Even at one point, there’s a moment that is quite graphic but also ridiculous where Ozawa isn’t afraid to display that humor. Ozawa would use footage from the previous film as flashbacks to establish some of the back story and characters from the previous films. All of which play into the motivation for Tsurugi to go out there and kick ass in a climax that is just over-the-top but also filled with thrills. Overall, Ozawa creates an exhilarating and crazy film about a mercenary taking names and kicking some fuckin’ ass.
Cinematographer Sadaji Yoshida does excellent work with the film‘s grainy cinematography from the usage of black-and-white for the flashbacks as well creating some lighting and moods for some of the fight scenes including its climax. Editor Kozo Horiike does nice work with the editing with its usage of a few fast-cuts as well as other rhythmic cuts to play into the suspense and action. Art director Norimichi Igawa does fantastic work with the look of the home base of the Yakuza boss as well as the dojo run by Masaoka. The film’s music by Toshiaki Tsushima is wonderful for its mixture of orchestral music and rock as it play into the air of excitement into the fights as well as in some of the moments of suspense.
The film’s marvelous cast include some notable small roles from Claude Gagnon as a mysterious mute man, Hiroshi Tanaka as a Yakuza boss in Otaguro, Naoki Shima as a police investigator named Yamagami trying to help Masaoka, and Masahashi “Milton” Ishibashi as an old foe of Tsurugi in Junjo. Masafumi Suzuki is superb as the karate master Masaoka whom Tsurugi has great respect for as he refuses to kill him for Otaguro and the Mafia. Yoko Ichiji is alright as Kitty as a young woman who aids Tsurugi as she is really a double working for the Mafia where she eventually falls for Tsurugi despite her nerdy appearance. Finally, there’s Sonny Chiba in a remarkable performance as Takuma “Terry” Tsurugi as this mercenary who isn’t afraid to kill or beat anyone up who threatens him as Chiba just maintains that sense that restraint when he isn’t fighting and then just go full-on badass in taking names and kicking some ass.
Return of the Street Fighter is a phenomenal film from Shigehiro Ozawa that features an incredible performance from Sonny Chiba. While it is a film that more of the same in comparison to its predecessor. It is still a film that is a lot of fun while not being afraid of being ridiculous not matter how silly some of the violence is. In the end, Return of the Street Fighter is a sensational film from Shigehiro Ozawa.
Related: The Street Fighter - Sister Street Fighter - (The Street Fighter’s Last Revenge)
© thevoid99 2016
Directed by Shigehiro Ozawa and written by Koji Takada and Motohiro Torii with English dialogue by Steve Autrey, The Street Fighter is the story of a mercenary who is hired by the Yakuza and the Mafia to kidnap a wealthy heiress only to realize what is at stake as he decides to oppose those who want her kidnapped. The film is the first of a trilogy of films where a man is just fighting and oppose those who go against him as the character of Takuma “Terry” Tsurugi is played by Sonny Chiba. Also starring Doris Nakajima, Gerald Yamata, and Milton Ishibashi. The Street Fighter is an awesome and exhilarating film from Shigehiro Ozawa.
The film revolves a man who is paid to do things as he is asked to kidnap the heiress of an oil company following her father’s death where he begins to realize who wants her and for what as it involves the Yakuza and the Mafia. It’s a film with a simple story where this man named Terry Tsurugi is someone who works for money but is also someone that no one should fuck with as he is a full-on badass that doesn’t take shit from anyone. The film’s script doesn’t have a strong plot but it does play into Tsurugi trying to do what it takes to win and oppose those trying to kill him. Especially when he is asked to do a job for the Yakuza, in affiliation with the Mafia, where he is suspicious knowing that they will set him up proving that he does have some kind of moral and sense of honor. Even those in the Yakuza have his values where they want to do this deal the right way but find themselves clashing with the demands of the Yakuza and the Mafia.
Shigehiro Ozawa’s direction is quite stylish as it isn’t afraid to play up its low-budget aesthetics to create something that is exciting and engaging. Shot largely in Tokyo as well as Kobe in Japan and parts of Hong Kong, the film plays into a world where corruption is starting to become the norm in Asia as it’s all about money and power. While Ozawa would use a few wide shots, he would mostly emphasize on medium shots and close-ups to capture the action as well going for low and slanted camera angles to play into its energy. Ozawa knows when to give the film a break from its action in favor of bits of humor as well as providing a few bits of exposition on Tsurugi. Yet, the film is mainly all action where it isn’t afraid to be graphic in its violence where it can range from intense to just downright silly. Even as there’s moments where Tsurugi will fight women as it is clear that he’s a dick but a dick is about getting the job done no matter what he has to do. Overall, Ozawa creates a wild and fun film about a mercenary kicking the holy shit out of the bad guys and then some.
Cinematographer Ken Tsukakoshi does excellent work with the film‘s cinematography with its low-grade stock to play into the look of the locations as well as creating some unique lighting in some of the nighttime interior/exterior scenes. Editor Kozo Horiike does brilliant work with the editing as it is very stylized with its jump-cuts and other rhythmic cuts to play into the action. Production designer Takatoshi Suzuki does fantastic work with the look of a local dojo owned by a relative of the late oil tycoon as well as the home of a Yakuza leader. The film’s music by Toshiaki Tsushima is amazing for its mixture of orchestral-based music with bits of rock to play into its energy and craziness.
The film’s superb cast include some notable small roles from Fumio Watanabe as a boss that Tsurugi works for occasionally, Tony Cetera as a business partner of Sarai’s father, Masafumi Suzuki as a karate master who is also Sarai’s uncle that asks Tsurugi for help, Jiro Chiba and Etsuko Shihomi as a couple of siblings who fail to pay Tsurugi for freeing their brother Junjo, and Rin’ichi Yamamoto in a terrific performance as a Hong Kong crime boss named Dinsau who bears some old values about honor. Masahashi “Milton” Ishibashi is excellent as Junjo as an infamous crime figure whom Tsurugi would free only to want to go against Tsurugi in a fair fight over some debt. Goichi “Gerald” Yamada is brilliant as Tsurugi’s assistant Ratnose who does whatever he can to help his friend as he is a mixture of comic relief and the film’s conscience.
Yukata “Doris” Nakajima is wonderful as Sarai as a heiress to an oil company that is the target of a kidnapping as she is reluctant to accept the protection of Tsurugi while learning the truth about what happened to her father. Finally, there’s Shinichi “Sonny” Chiba in a phenomenal performance as Takuma “Terry” Tsurugi as this mercenary who takes jobs for money as he finds himself at odds with the Yakuza and the Mafia where he does whatever it takes to survive and do what is right. Even as he does things that aren’t cool like hitting women or do things that are ultra-violent yet Chiba still maintains that air of awesomeness in his performance as it’s really the most iconic role of his career.
The Street Fighter is a spectacular film from Shigehiro Ozawa featuring an incredible performance from Sonny Chiba. It’s a film that is just silly fun while giving fans of martial arts film something to enjoy as it features a lot of ass-kicking and all sorts of crazy shit. In the end, The Street Fighter is a tremendous film from Shigehiro Ozawa.
Related: Return of the Street Fighter - Sister Street Fighter - (The Street Fighter’s Last Revenge)
© thevoid99 2016
Written and directed by Quentin Tarantino, Kill Bill is a two-part film about a woman who was left for dead as she is awaken from a four-year coma to kill the man who tried to have her assassinated as well as the assassins themselves. The film is a journey into a woman seeking vengeance for her near-death experience as it blends all sorts of genres from action, samurai films, martial arts films, and westerns as playing the lead role of the Bride is Uma Thurman. Also starring Lucy Liu, Vivica A. Fox, Daryl Hannah, Michael Madsen, Michael Parks, Sonny Chiba, Julie Dreyfus, Gordon Liu, Samuel L. Jackson, and David Carradine as Bill. Kill Bill is a thrilling and exciting epic film from Quentin Tarantino.
Kill Bill Vol. 1
After being nearly killed by the Deadly Viper Assassination Squad during her wedding ceremony, the Bride is comatose as she doesn’t wake up until four years later as she decide to seek revenge for those that tried to kill her including her boss Bill. After her recovery, the Bride travels to Okinawa to meet with the great swordsmith Hattori Hanzo (Sonny Chiba) to create a sword for her. She then travels to Tokyo to go after the first of the four assassins in Yakuza head O-Ren Ishii (Lucy Liu) and her army known as the Crazy 88s. The Bride also decides to go after the assassin Vernita Green (Vivica A. Fox) as she’s closer to reach her target.
Kill Bill Vol. 2
Following news of what the Bride is doing, Bill decides to warn his estranged brother Budd (Michael Madsen) about the Bride coming. With the Bride reaching Budd’s trailer, she gets an unexpected surprise from Budd as he decides to take her sword and bury her alive inside a coffin. Budd calls fellow assassin Elle Driver (Daryl Hannah) about the news as he plans to sell her the Bride’s Hanzo sword for a million dollars. Elle makes the deal but has a big surprise for Budd as she suddenly finds herself dealing with the Bride as the two fight it off. Finally set to go after Bill with information from Esteban Vihaio (Michael Parks), the Bride finally reaches Bill’s home as she learns something that shocks her. After that, the Bride and Bill finally discuss why all of this had to happen.
The films are essentially a two-part story of a woman seeking revenge for the beating she took that left her comatose for four years where on the day of her wedding, she was pregnant with a child. After being awoken from that coma, she decides to after the four assassins that tried to have her killed along with the man who ordered the assassination as she revealed in the opening scene of the film that the baby she’s carrying is his. The loss of what would be their child as well as being comatose for four years would drive this woman known as the Bride to go after the people that tried to kill her as it would be this big long adventure that would span through many places and blend into many different genres.
Quentin Tarantino’s screenplay, that features contributions from Uma Thurman for co-creating the Bride character, has a plot that is very simple yet he creates a story that doesn’t delve into a traditional structure. The first film is told in a non-linear style where it begins with the Bride’s confrontation with Vernita Green that is a short but a very poignant scene that reveals a lot about Green and what she’s become. It’s a moment where the Bride shows some remorse for her actions as the first film moves into very different scenes that includes a back story about O-Ren Ishii told in an animated sequence about how she became an assassin after the death of her family in the hands of a Yakuza lord. Another character that is presented in the first half of the story, aside from Hattori Hanzo, is Ishii’s right-hand woman Sofie Fatale (Julie Dreyfus) who was also present at massacre.
While Tarantino employs a non-linear narrative structure for the most of the first film, it’s restrained for the second film where he begins the story with the wedding rehearsal that Bill attends that would lead to the attack. It also reveals more about the other assassins in Budd and Elle Driver where the former has become a broken-down bouncer for a strip club. Another element that is revealed in the second film is a story about the Bride’s training with a cruel martial arts teacher named Pai Mei (Gordon Liu). Once the story progresses where the Bride finally reaches Bill, a twist is revealed that would impact everything the Bride had gone through where she and Bill finally have their own confrontation. Notably as it revealed why the Bride left Bill in the first place during an assignment.
It’s not just the structure and the stylish dialogue that makes Tarantino’s screenplay so interesting but also the way he creates the characters. Tarantino does give each assassin each time to establish their characters where O-Ren Ishii is a Yakuza lord, Vernita Green is a mother, Budd is a broken-down strip club bouncer who lives in a trailer in Texas, and Elle Driver who is still an assassin that is very close to Bill. Each have their own history with the Bride which does create some complications for the way she deals with her enemies though there are those that she just truly despises. When it comes to Bill, Bill is not a traditional antagonist as he’s someone who truly cherishes the Bride as what he did to her was part of who he is as a killer.
Tarantino’s direction is definitely stylish in terms of the presentation he wants to create for both films. The first film is largely a samurai picture with a mixture of action and suspense that includes an anime-style animated sequence to reveal the story of O-Ren Ishii. Through some very stylish shots for the fight scenes, Tarantino captures the intensity of the fights including the Bride’s battle with the Crazy 88s as it includes some beautiful moments such as the fight inside a blue room. Tarantino knows when to slow things down to establish what is going on as he creates some lovely moments for scenes in Tokyo along with some interesting shots such as Elle’s visit to the hospital to poison the already comatose Bride.
For the second film, Tarantino employs a different mix of genres such as martial arts and the western where the latter plays out to the world of Budd and the eventual fight between the Bride and Elle. In the scenes set in Texas, Tarantino employs a wider canvas to tell the story such as the wedding rehearsal and the scenes involving Budd in his trailer. Tarantino adds an element of suspense to these moments when the Bride is set to confront Budd that is later followed by this chilling moment of horror when the Bride is buried alive inside a casket as Tarantino maintains this very claustrophobic framing as if there’s a possibility that she won’t survive. Still, Tarantino knows the Bride has to survive where he creates some very captivating moments that would lead to the ultimate confrontation between herself and Bill.
The way Tarantino directs the ultimate final meeting between the Bride and Bill definitely lives up to everything that had been expected except there’s a lot of surprises in store. There’s a bit of low-key humor but also heartfelt moments that shows that Tarantino can create something that is very innocent. This is of course followed by tense, dramatic moments involving Bill and the Bride where it’s all about why Bill had her killed and why the Bride had to seek revenge. It is truly something that is unexpected by Tarantino as he creates something that is more than a revenge story but also a love story. Overall, Tarantino creates a truly exciting yet engrossing genre-bending epic that does a lot to entertain and more.
Cinematographer Robert Richardson does great work with the very vibrant and colorful photography from the stylish looks of the scenes in Japan in the first film to the more gritty look of the desert scenes in second film. Editor Sally Menke does brilliant work with the editing to create some amazing cuts for the film‘s action along with some slow, methodical cuts for the film‘s suspenseful moments. Production designer David Wasco, along with set decorator Sandy Reynolds-Wasco and art director Daniel Bradford for both films, does excellent work with the set pieces such as the hospital room that the Bride was in plus the wedding chapel and Budd’s trailer while the Japanese scenes featured work by production designer Yohei Taneda and set decorator Yoshihito Akatsuta for the set pieces such as Hanzo’s bar and O-Ren Ishii’s home base.
Costume designers Kumiko Ogawa and Catherine Marie Thomas do wonderful work with the costumes from the Bruce Lee-inspired look of the Bride‘s jumpsuit during her battle with the Crazy 88 to the clothes that O-Ren Ishii and Elle Driver wears. Visual effects supervisor Frankie Chung does superb work with the minimal visual effects used for some of the film‘s action and fight scenes that occur in the film. Animation director Katsuhito Ishii does terrific work with the first film‘s lone animated sequence that tells the story of O-Ren Ishii‘s early life. Sound editor Wylie Stateman, along with sound designers Peter Michael Sullivan, Scott Sanders, and Harry Cohen (for the first film) plus Dino Dimura (for the second film), does fantastic work with the sound to capture the atmosphere that occurs in both films such as the sound effects in the Bride‘s battle with O-Ren‘s army as well as the chilling scene inside the coffin in the second film.
The films double-soundtrack features a wide array of music that plays up to mesh of styles of the genre. Supervised by Mary Ramos for both film soundtracks and Michelle Kuznetsky for the first film soundtrack, the first volume consists a wide range of music from genres like 60s garage rock, score music, 70s soul, and electronic music from acts like Nancy Sinatra, Bernard Herrmann, Louis Bacalov, Meiko Kaji, Isaac Hayes, Neu!, Al Hirt, Santa Esmeralda, Gheorge Zamfir, Quincy Jones, and some original score pieces by Wu-Tang Clan’s the RZA who provides a mixture of hip-hop and electronic music to play up the momentum of the battle.
The second soundtrack consists a different style of music ranging from 70s soul, pop, country, and electronic music from Luis Bacalov, Malcolm McLaren, Meiko Kaji, Charlie Feathers, the RZA, and Johnny Cash. The film also features original music by Robert Rodriguez and his band Chingon as it plays to a mixture of Tex-Mex blues and mariachi while the soundtrack also features Spaghetti Western-inspired music that largely features the work of Ennio Morricone. Both soundtracks are definitely among some of the best usage of music ever assembled for these films.
The casting by Koko Maeda and Johanna Ray is incredible for the large ensemble that is created for both films. From the first part, there’s notable small roles from Michael Bowen as the perverted hospital orderly Buck, Sakichi Sato as a man the Crazy 88s humiliate that they call Charlie Brown, Yuki Kazamatsuri as the House of Blue Leaves proprietor, James Parks as the policeman Edgar McGraw, Jun Kunimura as a Yakuza head who insults O-Ren, and Ambrosia Kelley as Vernita’s four-year old daughter Nikki. From the second film, there’s wonderful performances from Helen Kim as an assassin that tries to kill the Bride, Larry Bishop and Sid Haig as people who work at the strip club Budd works at, Chris Nelson as the Bride’s fiancee Tommy Plympton, Bo Svenson as the reverend at the Bride’s wedding rehearsal, Jeannie Epper as the reverend’s wife, Samuel L. Jackson as the organist that was to play at the wedding, and Perla Haney-Jardine as a little girl that the Bride meets.
Other noteworthy small roles include Michael Parks playing a dual role as Texas Ranger Earl McGraw in the first film and Bill’s old friend Esteban Vihaio in the second, Gordon Liu as the Crazy 88s leader Johnny Mo in the first film and the cruel teacher Pai Mei in the second one, Chiaki Kuriyama as O-Ren’s sadistic bodyguard Gogo Yubari, Julie Dreyfus as O-Ren’s lawyer Sofie Fatale, and Sonny Chiba as the legendary swords maker Hattori Hanzo. In the roles of the former DiVAS assassination team, there’s brilliant performances from Vivica A. Fox as Vernita Greene who tries to make amends with the Bride, Lucy Liu as the skilled yet darkly-humored O-Ren Ishii who has a unique history with the Bride, Michael Madsen as Bill’s broken-down brother Budd who is filled with a lot of regret as he deals with the Bride, and Daryl Hannah as the vicious Elle Driver who seems to have a lot of animosity towards the Bride.
The late David Carradine is incredible as Bill as this very charismatic yet sadistic man who deals with the Bride’s vengeance as well as everything that happens where Carradine brings a performance that is truly engaging as he creates an antagonist that is quite likeable. Finally, there’s Uma Thurman in an outstanding performance as the Bride as a woman hell-bent on getting revenge for what happened to her. Thurman’s performance is full of complexities as a woman who has some charm as well as someone with remorse for her actions as there’s also a chilling restraint to her role. It’s definitely Thurman going all out and more as she creates a performance that is simply iconic.
Kill Bill is a magnificent two-part film from Quentin Tarantino that features a magnificent lead performance from Uma Thurman. With its amazing blend of genres, stylish production value, a killer soundtrack, and a brilliant ensemble cast that includes David Carradine, Lucy Liu, Daryl Hannah, Vivica A. Fox, Michael Madsen, and Sonny Chiba. Both films as one is truly an unforgettable experience as though both films does have something for everyone. In the end, Kill Bill is a phenomenal two-part film from Quentin Tarantino.
Quentin Tarantino Films: Reservoir Dogs - Pulp Fiction - Four Rooms: The Man from Hollywood - Jackie Brown - Grindhouse: Death Proof - Inglourious Basterds - Django Unchained - The Hateful Eight - Once Upon a Time... in Hollywood
Related: The Auteurs #17: Quentin Tarantino - Growing Up with Quentin Tarantino
© thevoid99 2012
