But if you can't be bothered to read that, here's a load of my own rambling bollox on the subject:
Achingly evocative imagery at times, both visually and aurally, the film succesfully blends together the disparate ingredients of the spaghetti western and asian martial arts genres with a healthy dose of the modern, creating an extremely satisfying and unique piece of unique film-making. And the beautiful single-frame camera shot sweeping throughout the House Of Blue Leaves, pumping up the tension before the climactic burlier-than-burly brawl, frankly made me whimper. And that was before the severed limbs started flying.
The third chapter, The Origin of O-Ren Ishii, was Starbuck's favourite - a searingly brutal piece of Japanese anime that had me hiding my eyes from the screen. Quite upsetting! I'd been expecting it to be a case of Tarantino putting in an animated sequence just for the sake of it, but it slotted in perfectly - the circumstances of the oration of O-Ren's transformation into the killer Cottonmouth fully justified it's inclusion cinematically. In fact, all films should be made this way. Especially ones with Jim Carey's oh-so-punchable face in them.
One thought which kept reoccurring watching the film - it was so much like a contemporary video game. The scene above Hattori Hanzo's shop in Chapter 4 ("The Man From Okinawa", fact-fans), felt straight out of Final Fantasy VII! Which wasn't a problem - I found it quite beautiful. Likewise the occasionally-corny dialogue, which sometimes felt like a poor translation from Japanese - it felt totally appropriate. (Somehow, Tarrantino's normal sharp witty dialogue would've looked out of place here.) And you couldn't get more video-game in structure than the concept of one individual facing up to a procession of Boss enemy battles. I look forward to The Bride's final encounter with Sephiroth next year...
(Review breaks down as a pointless and stupid metaphor gets out of hand)