Tarantino Is one of the fantastic contemporary directors, I am quite sure no one would deny that. He is brought to cinema his own unique kind of movie-making, one that many others have attempted to emulate.

However, that “style” was just his early effort at theatre. Sure, Reservoir Dogs and Pulp Fiction are good films, some might say fantastic, but they were just exercises on the best way to maturity for Quentin, who might have just peaked a bit earlier than I would have expected. I may be wrong and Inglorious Bastards would top all of his previous work, but from where I’m standing, Kill Bill, both amounts placed together are masterful film-making, one which he’s neglected to equivalent (yet fun Kurt Russell killing individuals using a muscle car may be) with Departure Proof.

As it Stands, his sword-flinging reference stuffed action film is a perfect rendition of the turn of the century. And I don’t mean it in a historical manner. His rare combination of western and martials film has it all.

To begin with it’s an homage, make it in theme (C’era Una Volta Il West), fashion (Yojimbo), songs (The Green Hornet) or in shots removed exactly from the movies referenced (Marnie). And Tarantino knows all his film-making strategy is just something that he learned from watching films, and he doesn’t hide that, he admits all those who came before him, and, likely, made his childhood and adolescent years fun.

Then, the film is also one enormous collection of videos. The music itself may be considered a character in its own right. When The Bride meets Oren Ishii and the subsequent sword fight ensues, I felt I was watching two dancers in a music video. There are long scenes where no words are uttered and the music is let loose to complete heads and hearts. The result? A unique atmosphere.

Last but Before comic book films got their shock from all our favorite spandex wearing superheroes. Only this one is not out of any novels, but from Q.T.’s mind, with a little help from our favorite blonde hellbent on revenge. And you can’t deny the movie this characteristic. Every shot appears to be right out of a comic panel, each line spoken directly out of a conversation bubble. Where else but in a comic book could you find such characters, at once ridiculous and larger than life?

Which Brings us back to where we started. Is Kill Bill an homage only to those Or can it be an homage to the age itself, an era Obsessed with music videos, comic book characters and style over Substance(something which Kill Bill possesses in abundance, nevertheless manages To seem meaningful) cinema?