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Pulp Fiction (1994)

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Ratings: 9.0/10 from 958,852 users   Metascore: 94/100
Reviews: 1,883 user | 251 critic | 24 from Metacritic.com

The lives of two mob hit men, a boxer, a gangster's wife, and a pair of diner bandits intertwine in four tales of violence and redemption.

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Top 250 #5 | Won 1 Oscar. Another 62 wins & 46 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Laura Lovelace ...
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Roger
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Paul / English Bob
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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. Written by Soumitra

Plot Summary | Plot Synopsis

Taglines:

From the creators of 'True Romance' & 'Reservoir Dogs' See more »

Genres:

Crime | Drama | Thriller

Motion Picture Rating (MPAA)

Rated R for strong graphic violence and drug use, pervasive strong language and some sexuality | See all certifications »

Parents Guide:

 »
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Details

Official Sites:

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Country:

Language:

| |

Release Date:

14 October 1994 (USA)  »

Also Known As:

Black Mask  »

Box Office

Budget:

$8,000,000 (estimated)

Opening Weekend:

£4,243,233 (UK) (11 November 1994)

Gross:

£10,734,320 (UK) (24 February 1995)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (special edition)

Sound Mix:

Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Quentin Tarantino:  [Netherlands]  Tarantino wrote the script in Amsterdam, in a hotel room and in the "coffee shop" (Dutch euphemism for hash-bar) Betty Boop. He stayed for several months, and left the video rental store "Cult Video" with an unpaid bill of about $150. This stay explains the references to Dutch culture and customs at the beginning of the movie. Vincent tells his heroin dealer that "I just got back from Amsterdam" and discusses it with Jules in their opening scene. In the conversation in the Jack Rabbit Slims restaurant, Mia mentions that she goes to Amsterdam to "chill out" for a month or two every now and again. In the same restaurant, Vincent smokes Drum, which is a Dutch rolling tobacco. Also, the book version of the movie's screenplay includes some cut dialogue between Vincent and Mia - he realizes that she was "the girl in the cowboy hat" in a photo at a hash bar they both visited, the Cobra, which is right across from the Anne Frank house in Amsterdam. Also Butch often calls Fabienne "tulip", a cultural symbol of the Netherlands. See more »

Goofs

In the Gold Watch scene, after Butch has run Marsellus down and crashed, as the scene fades to black, a mouse pointer appears on screen. See more »

Quotes

[first lines]
Pumpkin: Forget it. Too risky. I'm through doing that shit.
Yolanda: You always say that. That same thing every time, "I'm through, never again, too dangerous".
Pumpkin: I know that's what I always say. I'm always right, too.
Yolanda: But you forget about it in a day or two.
Pumpkin: Yeah, well the days of me forgetting are over, and the days of me remembering have just begun.
See more »

Crazy Credits

Long Haired Yuppie Scum - Lawrence Bender See more »

Connections

Referenced in Grand Theft Auto: Vice City (2002) See more »

Soundtracks

Son Of A Preacher Man
Written by John Hurley, Ronnie Wilkins
Performed by Dusty Springfield
Courtesy of Atlantic Recording Corp.
By Arrangement with Warner Special Products & Polygram Record Operations Limited
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

Awesome!
18 April 2004 | by (Houston, Texas) – See all my reviews

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.)


230 of 381 people found this review helpful.  Was this review helpful to you?

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