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May 13, 2004

This is an excellent movie that is put together is a not so straight fashion and that is its genious. Excellent story, good acting and good music with good dialogue and humor. An unusual story to say the least with some morons, badasses, gay S&M freaks and greedy people. Tarentino does an excellent job and if he continues to create movies like he has been making, he could possibly be one of the great directors of all-time.



Colonel Whitey
May 22, 2004

This shit's about to go off.


Binary Logic came out of the closet to say:
What's in the briefcase? Like the best McGuffins, it represents something that can't be obtained:

Unrequited desire - whatever might be in there, you can't have it.

Brilliant. [/B]

i really liked this interp, as well as the one about it being "whatever you think it is." it's the only explanation that really makes any sense. this movie is my favorite of all time and gets a 5.5.

Colonel Whitey fucked around with this message at 03:37 on May 25, 2004

Feb 21, 2004


Finally just saw the movie. I loved everything except for the VERY LOOSELY interrelated storylines. But for the story where Travolta and Thurman go out on a "date," I did not see how that added to the rest of the film. Can someone please explain?

My favorite part of the movie: the script and the way suspense/tension was built.


Apr 13, 2003

I was 15 when this movie came out. I liked it more a few years after its release, when I was a young college student. Since that time, my opinion of the movie has begun to decline.

With the novelty of the film's style having long since worn off, the weakness of the story really shows through. The early scene with Travlota and Uma really drags, and is largely uninteresting. The snappy dialogue throughout most of the film is pretty empty, the shock value of the violence doesn't hold a candle to Clockwork Orange even though Pulp Fiction has more blood, and Jackson's speech at the end of the film sounds more silly and contrived each time I see the film.

Reservoir Dogs was enhanced by focusing the action in a single place with a small set of characters. That movie invites you to wonder who these characters are, and you want to know because you want to figure out who the rat is. The non-linear storytelling there seems to work, because it gradually reveals information about characters and it always returns to the main story to challenge you to rethink the situation with what you now know. In Pulp Fiction, the non-linear storytelling is just part of the film's style.

The whole movie is style over substance, and when the style grows old the substance can't support the film on its own. Kill Bill may suffer a similar fate down the road, although that film is visually attractive to a degree that Pulp Fiction is not, and contains decently fun action sequences, so it may survive longer. I suspect Jackie Brown will outlast all of them, as it has the most intriguing story despite the pretty ho-hum performance from Samuel Jackson in most of his early scenes.

At any rate, Pulp Fiction does not survive the past 10 years intact, but it is still more than just an above-average film. To watch it for the first time now, I'd find it to be nothing too special, but in 1994 this was probably the best movie of the year. That the movie's style has been imitated, and often poorly imitated, over the decade since its release does diminish it, but perhaps we can just see the imitation of the film and its pop culture presence as a tribute to what the film did well.


Feb 20, 2004

It's time to restore dignity to the Farnsworth name!

I've tried to watch this movie many times, and each time, I realise I hate it. Not a little bit of hate, either. A whole lot of hate. It is one of the dumbest, most pointless films I've ever almost seen. I've never even been able to get all the way through it. I've rented it more than once, watched half of it, and taken it straight back. I can't explain what it is, although I do think Tarantino is a jackass. That may explain some of it, but I actually like some of his stuff.

To sum up, this movie is unexplainably terrible, but everyone else seems to like it, so I must be right.


May 17, 2004
hey now

here's a critical essay i wrote on pulp fiction.

Supposed “Pulp Fiction”

Quentin Tarantino’s masterpiece, Pulp Fiction [1994], is the ultimate tour de force of violence, beautiful dialogue, and wonderful direction. When asked “What is Pulp Fiction about?” one’s response will most likely be a chuckle. This is so because there is no way to explain Pulp Fiction without embarking on a journey into some of the greatest characterization, ever. The shortest complete answer to this famous question is: “a group of people and their interaction and involvement with each other over a period of a few days.” Some may refer to Pulp Fiction as a film noir drama, which it is, in some respects. Where one should draw the line with this definition can been seen at the beginning, with the title sequence.

The title sequence of Pulp Fiction pretty much sums up what the film is about. In this sequence, the title – in very large print – scrolls from the bottom to the middle of the frame; then shrinks into the middle of the screen, allowing the actors’ names to take over the frame. The title sequence explains the film because as the film proceeds, the overall “pulp fiction” plot shrinks away, and the characters take over the film. The film is broken down into six parts: three main scenes (Vincent Vega and Marsellus Wallace’s Wife, The Golden Watch, The Bonnie Situation); and 3 introductions to the main scenes (Hunny Bunny and Ringo, Briefcase Pickup, The Story of The Golden Watch). The three introduction scenes serve as, well, introductions. They set the audience up with some character and plot developments as well as background information for the scene following. The three main scenes play out what has been set up by the introduction scene.

The film starts out introducing Hunny Bunny and Ringo, Hunny Bunny to later be revealed as Yolanda. These are a couple of Bonnie and Clyde type robbers; madly in love, making their living off the money they steal. Ringo starts talking about why every place they have robbed so far is a death trap “If it's not the gooks, it's these old Jews who've owned the store for fifteen fuckin' generations. Ya got Grandpa Irving sittin' behind the counter with a fuckin' Magnum. Try robbin' one of those stores with nothin' but a telephone; see how far it gets you.” They even discuss getting out of the business, but to no avail “What then, day jobs?” Eventually, Ringo comes to the conclusion that a diner is the best place to rob. This scene is important to the viewer because it shows that Yolanda and Ringo are not bad people, “I’m not going to kill anyone” (Yolanda), and that they are looking for an excuse to stop their spree; this information comes in handy at the end of the film when there are guns on both Yolanda and Ringo.

After the credits roll, Jules Winnfield and Vincent Vega are introduced, though not in a traditional way; Vincent is talking about his recent 3 year stay in Amsterdam. This scene sets up the following scene, Vincent Vega and Marsellus Wallace’s Wife (Mia), and also brings into play the famous “what’s in the briefcase?” element. Vincent and Jules come to talk about Vincent’s date with Mia in a very indirect manner. First Vincent asks about her and Jules tells a story about her being on a pilot, which leads to a story about Marsellus almost killing a man because of a foot massage, which leads to a discussion about the erotic undertones of foot massages and why they are so cool. These conversations develop like real conversations people have, not like most other films where the dialogue is completely plot driven; and the addition of the line by Jules “C’mon, let’s get into character” completely reveals that these are in fact regular people, not some breed of hit men whose only purpose in life is to kill.

Vincent Vega and Marsellus Wallace’s Wife is the most developed and important scene in the film. What is meant by this is that everything in this scene is done for character and plot development; but because the film is written so well, one does not recognize the importance of the scene unless they break it down. It starts with a lengthy speech given by Marsellus to Butch, a fighter who is to take a dive for cash which is handed to Butch on-screen. Butch then walks over to Vincent and their eyes meet: “You lookin’ at somethin’ friend?” “You ain’t my friend poluko” “What’s that?” “I think you heard me just fine punchy.” This beginning does two things: it sets up the story of Butch enough so the viewer understands what happens when his story comes. This opening sequence also sets up the pseudo-showdown in Butch’s apartment between Butch, Vincent and an Uzi. The next development is Judy talking about all the piercing on her body; this sets up for later in the scene when the famous adrenaline shot sequence takes place. The reaction of Judy to the shot being given “That was fuckin’ trippy” is not just any reaction; her speech about her piercing and how every one on her was “done by a needle” justifies her reaction: she has just seen the ultimate piercing. Vincent’s purchase of heroin is important because when he buys it his dealer is out of balloons, so he puts it in a baggie. This and the combination of the heroin being pure white, not brown, sets up Mia’s OD sequence later in the film while listening to the symbolic song “Girl, You’ll Be a Woman Soon.” Who would get high before picking up their boss’ wife for a date? Vincent Vega. This is the kind of man he is; which is why it is justified that he leaves his Uzi sitting on the counter next to the toaster in the enemy’s apartment. There is a gap in the films development process after he shoots up; part is drug induced, and part is just the characters being nervous. Up until the dance scene at Jackrabbit Slims, there is absolutely nothing going on of any importance; Mia even justifies this by saying “Why do we feel it’s necessary to yak about bullshit in order to be comfortable?” … “That’s when you know you’ve found somebody really special: when you can just shut the gently caress up for a minute and comfortable share silence.” What follows is one of the best scenes in modern cinema: the dance off. Armed only with a song, Tarantino creates a character bond, one that will lead to a near death experience for more than one person, if word gets out about it. The first line symbolizes their budding relationship “It was a teenage wedding and the old folks wished them well” and by the end of the song they are acting like they may as well be married. The song is “You Never Can Tell” by Chuck Berry, and the dance sequence is bursting at the seams with style, especially since it resembles a similar sequence in Fellini’s masterpiece about film, 8 ˝ [1963].

The Golden Watch and The Bonnie Situation both contain some character and plot development, but it is not much, and they mostly resolve much of the character and plot build up which was created by the previous scenes in the film. It is also better to focus on them as the film noir part of the story, and this is so because: 1.up to these two stories everything has been set up and is ready to be played out in its glorious finale, 2. the film noir plot (I.E. people being sucked in over their heads) are extremely more evident here than anywhere in the story. Take, for example, the shooting of Marvin in broad daylight on a main street in LA; or even better, a boxer, supposed to throw a fight, betting on his self and winning; thus creating utter chaos in his surrounding world.

Although every situation in Pulp Fiction plays out as a film noir piece, it is Tarantino’s brilliant script, direction and characters that place the film at a higher level than just a simple film noir flick. Pulp Fiction is not just “pulp fiction”, because there is meaning behind the explicit content, it is not just “A magazine or book containing lurid subject matter and being characteristically printed on rough, unfinished paper.” The paper is definitely finished, and the only thing wrong with Pulp Fiction is the title.

Eighteen Rabbit
Nov 28, 2003

What is there to say that hasn't been said?

The characters & dialogue were stylish, funny, and witty.

loving hilarious movie. Tarintino wins again.


Jul 14, 2004

I still remember my heart pounding when Marsellus and Butch were bound up in the basement and the two redneck homos were deciding what/who to do first. Incredible movie- I saw it again last week for the first time since 1994 and couldn't look away from beginning to end. 5.5

Citizen Snips
Jul 14, 2004

Teddy's In Trouble...

Great plot, great characters, and it's been a classic for 10 years.
5/5 Most definitely

Jul 14, 2004


5/5 Has been my favorite movie since I have seen it the first time.
This movie is hands down Quentin Tarantino's best film. The all star cast is a nice touch too. I think I might go pop it in the dvd player actually. There are some slow parts to it, mostly revolving around Bruce Willis an his character Butch. It picks up after a while though.
In the words of Jules Winnfield "It's the one that says Bad Muthafucka"

The Read Menace
Apr 4, 2003

This movie seems to be massively overrated by everyone. I still thought it was pretty good though, but I don't think it's worthy of "greatest film of all time" blah blah


pizza is under bridge
Aug 1, 2003

The only thing i have to say is that this is one of the best movies ever made 5.5/5.0

The Kung-fu Yeti
Jul 5, 2004

by Ozma

A mighty fine movie. I don't really want to go in depth since others have already said so much, but 'Pulp Fiction' really shines because of the characters and dialogue. The plot is alright: it's basically three short stories that are connected, and the timeline jumps around a bit, but other than that, I don't understand why some people consider the plot complex or intricate. The first time I saw this movie (November 2004; yes, I am the last person in the universe to have seen this movie) it all seemed pretty straightforward to me. While the three mini-plots are very enjoyable, I would say that 'Pulp Fiction''s strongest aspects are the characters and dialogue. Jules Winsfield, Vincent Vega, Mia Wallace, and Marsellus Wallace are all very memorable and charismatic characters. So is Butch Coolidge, who is my favorite. His backstory involving his father's watch, and the honor that he must live up to, make him very sympathetic.

Now, 'Pulp Fiction' is a movie that is quoted very often, and that can be annoying to some people. It's also been parodied, and some people may not like it at all. There's a lot of swearing, but I think the dialogue sounds very smooth and natural. I feel the same way about 'The Big Lebowski'. It, too, had awesome characters and very nice dialogue (although I think it also has a good plot).

'Pulp Fiction' is an excellent film and I give it an even 5.

The Kung-fu Yeti fucked around with this message at 00:16 on May 22, 2005

Jul 7, 2009


This is a perfect film. Interesting characters, bizarre editing, and fantastic dialogue. Easily one of the most quotable films ever made. This was the film Tarantino was born to make.


Feb 9, 2007
Good to the last drop

This is one of my all time favorite movies. One of those movies, I can watch over and over again and never get tired of. The all star cast (John Travolta, Samuel L. Jackson, Uma Thurman, Bruce Willis, Ving Rhames, Christopher Walken), semi-bizarre plot (what the gently caress was in that case? Tarantino doesn't know, he tells people who ask it was tinfoil and a lightbulb), and general proliferation of great lines (Your gonna give her the shot! The day I bring an OD'ing bitch to your house, I'll give her the shot! Give her the shot!) make it awesome. 5.5/5

Apr 23, 2004

by Smythe

Read ITT to see why people who use the word "overrated" in any review are worthless cunts. If you use that word, you're not evaluating the movie or product on its own merit; you're evaluating whether the public response to the movie/product matches your expectation of what the public response to the movie/product "ought" to be. The mathematical derivative of the actual review scoring, if you will. Which is a completely useless piece of subjective information that has nothing to do with the actual worth of the film.

Meanwhile, this movie is really good. A definite classic of the 90-ies that will be seen and remembered for generations. Someone mentioned the dialogue is so good, the film could easily work as a radio play and still remain captivating. 5/5

pigdog fucked around with this message at 10:48 on Aug 6, 2012

May 20, 2001

Toilet Rascal

I absolutely love this movie. The acting and the dialogue are so over the top but at the same time are somehow natural. I don't know how Tarantino was able to achieve that but he did, in spades.

I think it's the dialogue and the soundtrack that I liked most about this movie. It just all feels so 'right' when watching the movie that you really can't imagine it being any other way.


Aug 3, 2012

I'm literally retarded

Demmy posted:

One of my absolute favorite movies. One of the only things I didn't care for about the movie was Bruce Willis's character's wife, she kinda got on my nerves. Other than that, it's flawless. The dialogue is great, and the way the movie is done as seperate stories that tie-in together is even better. I just wish that they would've given Samuel L. Jackson's character another story, like John Travolta and Uma Thurman had.


I thought she was sweet and vulnerable, a nice lady , so very normal, sucked into this mad mess, the sweet normal squeezygirl in contrast to Butch's unwilling savagery
She never knew Butch had killed Floyd...he was protective towards her.
I hope they had a happy life.

May 12, 2007


Dang, just read the OP, which was written 14 years ago, roughly a decade after the film was released. I think it’s fair. This is not one of the “greatest films ever made,” but it’s very, very good and is masterclass on editing, sound, cinematography and dialogue. Maybe in a few years it will be ranked up there with Godfather, Citizen Kane, etc. That’s very high praise.

I saw this in theaters when it was released, and all I knew was it was by the same guy that made Reservoir Dogs, which I liked. LOVED it when I walked out of the theater, and I still do. To this day I think it’s Tarantino’s best film, and he’s made some pretty good ones since. I can tell in every movie since that he’s trying to “do something” with the film, but that’s not the case with Pulp Fiction. It’s just pure film.

Ruptured Yakety Sax
Jun 8, 2012




Dec 14, 2004

jeromechef posted:

This movie is my response when someone asks 'What is your favorite movie of all time?'

Yeah this is definitely my favorite movie of all time. The first time I watched it I hated it and I have no idea why. A few years later I watched it again and I was completely blown away. Over the years every time I watched it I seemed to appreciate it more.


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