One of the early scenes in "Pulp Fiction" features two hit-men discussing what a Big Mac is called in other countries. Their dialogue is witty and entertaining, and it's also disarming, because it makes these two thugs seem all too normal. If you didn't know better, you might assume these were regular guys having chit-chat on their way to work. Other than the comic payoff at the end of the scene, in which they use parts of this conversation to taunt their victims, their talk has no relevance to anything in the film, or to anything else, for that matter. Yet without such scenes, "Pulp Fiction" wouldn't be "Pulp Fiction." I get the sense that Tarantino put into the film whatever struck his fancy, and somehow the final product is not only coherent but wonderfully textured.It's no wonder that fans spend so much time debating what was in the suitcase, reading far more into the story than Tarantino probably intended. The film is so intricately structured, with so many astonishing details, many of which you won't pick up on the first viewing, that it seems to cry out for some deeper explanation. But there is no deeper explanation. "Pulp Fiction," is, as the title indicates, purely an exercise in technique and style, albeit a brilliant and layered one. Containing numerous references to other films, it is like a great work of abstract art, or "art about art." It has all the characteristics we associate with great movies: fine writing, first-rate acting, unforgettable characters, and one of the most well-constructed narratives I've ever seen in a film. But to what end? The self-contained story does not seem to have bearing on anything but itself.The movie becomes a bit easier to understand once you realize that it's essentially a black comedy dressed up as a crime drama. Each of the three main story threads begins with a situation that could easily form the subplot of any standard gangster movie. But something always goes wrong, some small unexpected accident that causes the whole situation to come tumbling down, leading the increasingly desperate characters to absurd measures. Tarantino's originality stems from his ability to focus on small details and follow them where they lead, even if they move the story away from conventional plot developments.Perhaps no screenplay has ever found a better use for digressions. Indeed, the whole film seems to consist of digressions. No character ever says anything in a simple, straightforward manner. Jules could have simply told Yolanda, "Be cool and no one's going to get hurt," which is just the type of line you'd find in a generic, run-of-the-mill action flick. Instead, he goes off on a tangent about what Fonzie is like. Tarantino savors every word of his characters, finding a potential wisecrack in every statement and infusing the dialogue with clever pop culture references. But the lines aren't just witty; they are full of intelligent observations about human behavior. Think of Mia's statement to Vincent, "That's when you know you've found somebody special: when you can just shut the f--- up for a minute and comfortably enjoy the silence."What is the movie's purpose exactly? I'm not sure, but it does deal a lot with the theme of power. Marsellus is the sort of character who looms over the entire film while being invisible most of the time. The whole point of the big date sequence, which happens to be my favorite section of the film,
I can only speak for myself, but I had never seen anything as stylish, cleverly constructed, well written and electrifying as this milestone when I first saw it in 1994. What really pulled me in right from the start is what we've now come to know as a Tarantino trademark: the dialogue. When gangsters Jules and Vincent talk to each other (or all the other characters, for that matter) there is a natural flow, a sense of realism and yet something slightly over the top and very theatrical about their lines – it's a mixture that immediately grabs your attention (even if it's just two dudes talking about what kind of hamburger they prefer, or contemplating the value of a foot-massage). Then there's the music: the songs Tarantino chose for his masterpiece fit their respective scenes so perfectly that most of those pieces of music are now immediately associated with 'Pulp Fiction'. And the narrative: the different story lines that come together, the elegantly used flashbacks, the use of "chapters" – there is so much playful creativity at play here, it's just a pure joy to watch.If you're a bit of a film geek, you realize how much knowledge about film and love for the work of other greats – and inspiration from them - went into this (Leone, DePalma, Scorsese and, of course, dozens of hyper-stylized Asian gangster flicks), but to those accusing Tarantino of copying or even "stealing" from other film-makers I can only say: There has never been an artist who adored his kind of art that was NOT inspired or influenced by his favorite artists. And if you watch Tarantino's masterpiece today, it's impossible not to recognize just what a breath of fresh air it was (still is, actually). Somehow, movies - especially gangster films - never looked quite the same after 'Pulp Fiction'. Probably the most influential film of the last 20 years, it's got simply everything: amazing performances (especially Sam Jackson); it features some of the most sizzling, iconic dialogue ever written; it has arguably one of the best non-original soundtracks ever - it's such a crazy, cool, inspirational ride that you feel dizzy after watching it for the first time. It's – well: it's 'Pulp Fiction'. 10 stars out of 10.Favorite films: http://www.IMDb.com/list/mkjOKvqlSBs/Lesser-known Masterpieces: http://www.imdb.com/list/ls070242495/Favorite TV-Shows reviewed: http://www.imdb.com/list/ls075552387/
To put this in context, I am 34 years old and I have to say that this is the best film I have seen without doubt and I don't expect it will be beaten as far as I am concerned. Obviously times move on, and I acknowledge that due to its violence and one particularly uncomfortable scene this film is not for everyone, but I still remember watching it for the first time, and it blew me away. Anyone who watches it now has to remember that it actually changed the history of cinema. In context- it followed a decade or more of action films that always ended with a chase sequence where the hero saved the day - you could have written those films yourself. Pulp had you gripped and credited the audience with intelligence. There is not a line of wasted dialogue and the movie incorporates a number of complexities that are not immediately obvious. It also resurrected the career of Grease icon John Travolta and highlighted the acting talent of Samuel L Jackson. There are many films now that are edited out of sequence and have multiple plots etc but this is the one they all want to be, or all want to beat, but never will.
Viewers are taken on a ride through three different stories that entertwine together around the world of Marcellus Wallace. Quentin Tarantino proves that he is the master of witty dialogue and a fast plot that doesn't allow the viewer a moment of boredom or rest. From the story of two hit-man on a job, to a fixed boxing match to a date between a hit-man and the wife of a mob boss. There was definitely a lot of care into the writing of the script, as everything no matter the order it is in, fits with the story. Many mysteries have been left such as what is inside of the briefcase and why Marcellus Wallace has a band-aid on the back of his neck, which may be connected. The movie redefined the action genre and reinvigorated the careers of both John Travolta and Bruce Willis. This movie is required viewing for any fan of film.
My oh my. "Pulp Fiction" is one of those roller-coasters of a movie. It is both a joy and a trial to sit through. Amazingly original and unforgettable, Quentin Tarantino's trash masterpiece never gets old or seem outdated. It put a face on American independent film making in 1994. Miramax had been around since the 1970s and no one had heard of it before this film. Studios went into a panic when this film came out because they knew it would be an amazing hit. Of course it was. Independent film making became the rage and hit its peak in 1996 when four of the five nominated Best Picture films were from independent studios. The screenplay and direction by Tarantino are quite amazing, but the cast makes the film work. John Travolta (Oscar nominated) re-invented his career with this film. Bruce Willis cemented his celebrity. Samuel L. Jackson and Uma Thurman (both Oscar nominees) became marketable superstars. Others who make appearances include: Ving Rhames, Christopher Walken, Eric Stoltz, Rosanna Arquette, Steve Buscemi, Frank Whaley, Harvey Keitel, and of course Quentin Tarantino himself. They all leave lasting impressions as well. Samuel L. Jackson stood out the most to me, his lack of substantial screen time may have cost him the Oscar. Just an amazing accomplishment, all involved deserve recognition. Easily 5 stars out of 5.
Pulp Fiction may be the single best film ever made, and quite appropriately it is by one of the most creative directors of all time, Quentin Tarantino. This movie is amazing from the beginning definition of pulp to the end credits and boasts one of the best casts ever assembled with the likes of Bruce Willis, Samuel L. Jackson, John Travolta, Uma Thurman, Harvey Keitel, Tim Roth and Christopher Walken. The dialog is surprisingly humorous for this type of film, and I think that's what has made it so successful. Wrongfully denied the many Oscars it was nominated for, Pulp Fiction is by far the best film of the 90s and no Tarantino film has surpassed the quality of this movie (although Kill Bill came close). As far as I'm concerned this is the top film of all-time and definitely deserves a watch if you haven't seen it.
Tarantino is without a doubt one of the best directors of all time and maybe the best of the 90's. His first film, Reservoir Dogs was amazing and claustrophobic, his segment in Four Rooms was by far the greatest (even though Rodriguez's was excellent too)and Jackie Brown is a wonderful homage to the Blaxploitation films of the 70's. However, Pulp Fiction remains my favourite.It was nominated for so many Oscars that I still find it hard to believe that it only got one: Best original script. I'm not complaining because Forrest Gump got best picture, since that film was also Oscar-worthy, but come on, movies like Tarantino's or the Shawshank Redemption deserved much more.Anyway, going back to the movie, I particularly liked the first and second chapters, and that's really a contradiction because one of the movie's finest characters, Mr. Wolf, appears on the third. Bruce Willis also does a great job, and as far as I'm concerned he fell in love with the movie right after having read the script. I like the way his character gives a "tough guy" image at the beginning and then we discover he's so affectionate and tender to his wife. Travolta is obviously the star of the movie and his second encounter with Bruce Willis in the kitchen along with the scene where he dances with Uma Thurman is when the movie reaches it's highest point.The other star is Samuel L. Jackson, who plays a wise assassin that obviously knows how to handle situations. "And I will strike down upon thee with great vengeance and furious anger..." is my favourite quote.Summarizing, Pulp Fiction is a modern classic and a must-see for anyone who is at least aware of what a movie is. I give it a 9 out of 10.
Quentin Tarantino's Pulp Fiction is a terrific film. It also gets better with each viewing, especially if one of those happens to be on a big theatrical screen where all of the BIG compositions get bigger and more detailed. How much else is there to talk about it after all these years? It's filled with dynamite, sudden and always interesting action, great and naturally clever dialogue, and memorable characters. Also, the acting is always something to behold as by turns straightforward, over the top, subtle, and just downright menacing and spot-on. The directing is one of the strongest that we've seen from Tarantino, as he makes his choices in pacing with shots in unconventional ways but never in a way that would be distracting. And writing, already noted, has been copied by many, and only equaled by a select few. The dance sequence. Samuel L. Jackson's superlative monologuing. It has loyalty among low lifes, and many other odd characters that are all bad and not one is a villain or hero. And somehow even after years of parody and terrible rip-offs, it holds its own and- as one can say after seeing it at a midnight screening- holds its audience as much as it had the countless times before they saw it (or if they are, the first time). The first time you're surprised, the second time you look for the clues or other ambiguity, and then the third time you laugh you head off. The fourth time... I'll leave to you.
I just finished screening this movie for the first time after putting it off for a number of years because of what seemed like equivocating appraisals from some of my friends. In hindsight, however, it seems to me that while the movie must have definitely bowled them over, overall they weren't sure exactly what to make of it or how to articulate what were probably a confused mix of feelings. But I am so impressed that I feel compelled to add a few specific observations to the many fine reviews already on this database.First, this movie hits you with an impact somewhere in between, say, APOCALYPSE NOW and A CLOCKWORK ORANGE, and for some people may be just as disturbing (however, in this respect I am happy to report I didn't think it rose to the level of NATURAL BORN KILLERS). Full of graphically violent action and language, PULP FICTION is not a picture for everyone - I would definitely not recommend it to my parents, born in the 1930's (even to my one fairly "hip" relative of the same generation who, at age 66, still teaches high school sex education and likes to talk about things like sunbathing nude, among other potentially sensitive issues).Irrespective of audience sensibilities, however, the film-makers, supported by superb acting in every role, manage to create a world full of the most fascinating sleazy characters possibly ever to appear on screen. From Travolta's pronounced almost-child-like curiosity about the world to Jackson's sincere and thoughtful philosophical ruminating and Willis's deep devotion to the memory of his father, I think such fascination lies not only in the characters' personalities as they are portrayed but in the way they tantalize the viewer into considering the possibility that such people could actually exist. As a lawyer of some years' experience dealing with all sorts of people I was particularly drawn to this aspect of the film.Thus, and in response to some other reviewers' comments, I think this movie is more character-driven than plot-driven. Instead of a story peopled by basically weakly developed characters employed primarily as a mere device to move the plot along, as is too frequently the case in the movies (especially these days), the undeniably strong, clever, and unpredictable plot lines in PULP FICTION are actually of essentially secondary interest and importance, serving primarily as vehicles to get you worried about the fate of characters you can't help caring about despite the truly low attributes that otherwise form the basis for their respective personas. As at least one other reviewer noted, when the film ends you are actually disappointed, left craving more of these crazy people and their explosive lives.Finally, and as strange as it may sound, this film reminds me of another Monumentally Great Film which one would never typically associate with it in any way in a million years - CASABLANCA. As in that film made way back in 1942, and as another reviewer has suggested, perhaps its special appeal - its unusually high degree of emotional impact - lies in its distinctly successful simultaneous application of several different genres in a single film - drama, action, dark humor - with the whole thing bound together by essentially flawless execution in every department. And while CASABLANCA is no doubt clearly much more wholesome and high-minded, like the older film PULP FICTION is not without a pronounced theme of redemption, even if it is not as strongly felt, considering all the later film's s
Pulp Fiction, despite borrowing from just about every movie ever made, is the most invigorating cinema experience a filmgoer can ever hope for. Its hodgepodge of violence, mayhem, and generally deviant behavior is an assault on the senses, not to mention political correctness. However, despite all the film's cleverness and style, it hinges on the performance put forth by Samuel L. Jackson as Jules. The fact that he was denied an Oscar is a downright shame. Martin Landau, the best supporting actor winner that year, was terrific and funny in Ed Wood, but Jackson was perhaps the most commanding screen presence in film history as the bible-quoting, godfearing hitman. The last scene in the coffee shop with Tim Roth still sends chills down my spine, no matter how many times I've seen it. Rumors of a prequel involving Jules and Vincent (John Travolta) have been floating around lately. If Quentin Tarantino wishes to regain the fans he lost with the dissapointing (but still pretty good) Jackie Brown, he should get to work right away. I'll be the first in line to see the finished product.