The word “movie” can best be defined as a sequence of images giving the illusion of continuous movement. That is the best way to explain “Kill Bill: Vol. 1.” It does not rely heavily on dialogue as did Quentin Tarantino’s past efforts. You may even say that there isn’t much of a story line at all. One thing for certain however, you will not be able to take your eyes off the screen.

Like the classic martial arts films it emulates, “Kill Bill: Vol. 1” is a revenge tale except with women in the lead roles. Uma Thurman plays “The Bride,” who awakens from a five-year coma hell-bent on getting even with those who put her there. The whole movie plays out like a to-do list of whom to kill and in what order. This order takes her from the suburbs of Pasadena to the villages of Japan. By the end of Volume 1 she is about half way through her list. By the end of Volume 2, she should have completed the list and done away with her fiance, Bill.

Now that we have discussed the plot, let’s get to what this film is really about — style. Filled with in-jokes and pop culture references that are a staple of Tarantino’s films, it took me back to a simpler time. Before the days of video stores where we can rent the newest releases, weekends meant sitting in front of the television watching whatever classic film was on at the time. We didn’t have 500 channels to choose from either. So I’d sit and watch “Ma and Pa Kettle” or whatever the movie gods would conjure up, and accept my fate. Tarantino continues to remind people of those days. This film takes its lead from “Kung Fu Theater” and Sergio Leone’s Spaghetti Westerns. He throws in the mix some visuals from “The Matrix” and “Crouching Tiger, Hidden Dragon” for those of you too young to understand my earlier references. It is no wonder that Yuen Wo-Ping, who was the stunt coordinator for both films, handled the action for “Kill Bill” as well.

One thing noticeably absent from “Kill Bill” is cinematography by Andrej Sekula. This time around behind the camera stands Robert Richardson, who has three Oscar nominations under his belt. As usual, Sally Menke keeps the film tight with her kinetic editing style.

It has been six years since Quentin Tarantino has directed a movie. Like a fine wine, he has aged well and like the vintner that produced it, he has yet again created a masterpiece. Look for “Kill Bill: Vol. 2” to hit theaters in February 2004.