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Pulp Fiction
Crime, Drama, Thriller
IMDB rating:
Quentin Tarantino
John Travolta as Vincent Vega
Samuel L. Jackson as Jules Winnfield
Tim Roth as Pumpkin - Ringo
Amanda Plummer as Honey Bunny - Yolanda
Eric Stoltz as Lance
Bruce Willis as Butch Coolidge
Ving Rhames as Marsellus Wallace
Phil LaMarr as Marvin
Maria de Medeiros as Fabienne
Storyline: Jules Winnfield and Vincent Vega are two hitmen who are out to retrieve a suitcase stolen from their employer, mob boss Marsellus Wallace. Wallace has also asked Vincent to take his wife Mia out a few days later when Wallace himself will be out of town. Butch Coolidge is an aging boxer who is paid by Wallace to lose his next fight. The lives of these seemingly unrelated people are woven together comprising of a series of funny, bizarre and uncalled-for incidents.
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Simply The Best
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.
Quentin you're the man!!!
This is a pure masterpiece folks.Actually a unique movie with its own style and feel unlike anything before it.You have to see it for yourself and find out what the film is all about because everybody has different interpretation of it.The essence of the 50s,60s and 70s captured and combined in one big hell of a movie.Highest admirations to all the actors who were involved in this movie.John Travolta is my number one character in the film fallowed closely by Sam Jackson,Bruce Willis and the hotter than ever Uma Thurman.The dialog is great and you feel like you're in the movie yourself connected with these people.Guns,blood,torture,rapes(and you'll never guess who got raped)and a briefcase full of whatever your imagination is.What Pulp Fiction right away-one of the definitive movies of the 90s and one of the best of all times.
The masterpiece without a message
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, is the power that Marsellus has over his men without even being present. This power is what gets Vincent to act in ways you would not ordinarily expect from a dumb, stoned gangster faced with an attractive woman whose husband has gone away. The power theme also helps explain one of the more controversial aspects of the film, its liberal use of the N-word. In this film, the word isn't just used as an epithet to describe blacks: Jules, for instance, at one point applies the term to Vincent. It has more to do with power than with race. The powerful characters utter the word to express their dominance over weaker characters. Most of these gangsters are not racist in practice. Indeed, they are intermingled racially, and have achieved a level of equality that surpasses the habits of many law-abiding citizens in our society. They resort to racial epithets because it's a patter that establishes their separateness from the non-criminal world.

There's a nice moral progression to the stories. We presume that Vincent hesitates to sleep with Mia out of fear rather than loyalty. Later, Butch's act of heroism could be motivated by honor, but we're never sure. The film ends, however, with Jules making a clear moral choice. Thus, the movie seems to be exploring whether violent outlaws can act other than for self-preservation.

Still, it's hard to find much of a larger meaning tying together these eccentric set of stories. None of the stories are really "about" anything. They certainly are not about hit-men pontificating about burgers. Nor is the film really a satire or a farce, although it contains elements of both. At times, it feels like a tale that didn't need to be told, but for whatever reason this movie tells it and does a better job than most films of its kind, or of any other kind.
Awful every time
I hate to be the Debby Downer of the bunch but.... this movie is awful. I was forced to watch it growing up by my parents, then again as a teenager by a boyfriend, and now again for a class I'm taking. I do not get the point of anything this movie puts out, I actually hate everything about it. The plot set up is ridiculous, the characters are awful and disappointing, and the ending even sucks. I wish I could get the time back for the three regrettable times I had to watch this film, but I can't. I will never watch this movie again, and hopefully after I write this review I can go back to acting like this awful thing was never created or released to the public. Don't waste your time, it's more entertaining to watch paint dry.
Very brilliantly shot film
Pulp fiction is one of the best crime/ dramatic movie of my time. The movie had such a great cast, and some intense dramatic scene pretty much through the whole movie. I remember not liking this movie when I was a kid, but now that I am older I really enjoy watching this film. There are a lot of great scenes in this movie but the most memorable scene I think was when Uma Thurman and John Travolta are dancing on stage at the restaurant to " You never can tell" by Chuck Berry. Another famous and great scene is Samuel L Jacksons speech hes giving to the guy while shooting every one else. A lot of action shots in this film, drugs, guns, and violence. A very brilliantly shot film.
Just Terrible
One of the worst movies I have seen. Sure, the dialogue is interesting, but pointless. If I wanted to have conversation about random things, I would just talk to my friends. I don't want to hear Samuel L. Jackson talk about television or John Travolta about European travel. I don't care. This movie could have been about 1/4 as long as it was. The jumps back in time serve no purpose. It seems like Tarantino tried too hard to make something different and strange. It just didn't work. So if you like random violence and cursing, this movie is for you. Violence and cursing doesn't bother me in movies, but in this film it just seemed forced. It did not piece well together or flow. Poor job of writing this time around in my opinion.
This film was suave, cool and kitschy... but so what?
I was very underwhelmed by this film. I thought thought that the performances, while excellent given the flimsy material, were so unfounded in depth of character which made me think "ok, why should i care whether he dies? or whether she dies? or whether he cant pay back the gangsters?" I found the interwoven stories to be a nice idea however the sheer length of each story for approximately 15-20 minute intervals made me lose any interest i had with the previous characters. To this end the film became this consistently unfunny, boring, benign experience to which there was no reason to care about the characters, the plot or the subtext, and the ending while clever was very longwinded with no beneficial or worthy climax.

3 stars given for 1) John Travoltas performance 2) occasionally witty lines/conversations 3) the opening scene in the diner
Extraordinarily overrated, but a fun watch
This is by no means boring, but by no means 'essential' or intelligent or really worthwhile at all. It's a very fun watch, hence the 5 points out of 10 I will concede it. But yet it is void of any meaning whatsoever and benefits from a contemporary society that will erect any piece of meaningless junk into a grande piece of art solely on the basis it is 'original'. Originality on its own is no virtue. There needs to be purpose, meaning, a particular sense of coherence and overall an intelligence to it. All things this movie surely lacks. The script is quite awful and tries hard at being edgy and memorable for how random and 'original' it is. This film is constantly patted on its back for being structurally and cinematographically complex and 'original', but that never makes up for how skin-deep and hollow inside it so clearly, evidently is. Acting is good, and it's pretty diverse; a succession of little stories somewhat interlinked. A good watch for purely entertainment purposes, but nothing more. And certainly not a masterpiece.
worst movie ever
After 4 years, I still consider this the worst movie I have ever seen. I have yet to watch any thing else with QT's name attached to it. Everything about this film is annoying, (the presence of the ubiquitous Sam Jackson and Steve Buscemi, the weak attempts at shock value, the cameo by the director) but the one element that makes this number one on my all time worst list is the obnoxious dialogue that tries to be hip and funny. THREE'S COMPANY reruns have better dialogue (and I hate that show). It's such a shame though, because QT and I do have a lot of the same obscure tastes in movies. My advice is to try a project that tries not to be shocking, funny or hip, because PULP FICTION fails in all three departments miserably.
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 sleaze and violence.

In sum, when people say that this is probably the best film of the 1990's, it is easy to see why. Fundamentally a truly outstanding movie, it is a must-see for anyone who considers themself a film buff and can handle graphic subject matter.

(Incidentally, if you would like a more toned-down, much more overtly humorous and less serious picture with a not-altogether dissimilar look and feel, don't miss another 1990's Travolta picture, GET SHORTY.)
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