In Detroit, loner Clarence marries a call girl named Alabama, steals cocaine from her pimp, and tries to sell it in Hollywood. Meanwhile, the owners of the cocaine, the mob, track them down and try to reclaim it.
The middle age stewardess Jackie Brown smuggles money from Mexico to Los Angeles for the arms dealer Ordell Robbie. When she gets caught by the agents Ray Nicolette and Mark Dargus with ten thousand dollars and cocaine in her purse, they propose a deal to her to help them to arrest Ordell in exchange of her freedom. Meanwhile Ordell asks the fifty-six year-old Max Cherry, who runs a bail bond business, to release Jackie Brown with the intention of eliminating her. Jackie suspects of Ordell's intention and plots a complicate confidence game with Max to steal half a million dollar from Ordell. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
When Sharonda is talking to Jackie in the mall, Jackie's hand enters frame to put out her cigarette. When the camera cuts back to Jackie, she still has it. See more »
Girl at Security Gate:
Flight 710 to Cabo San Lucas, now boarding Gate 103, first class only. Flight 710, Cabo San Lucas, now boarding Gate 103. First class only.
Buenos dias. Welcome aboard. Welcome aboard.
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The menu/function/default voice (example: 'you have no new messages') on the telephone answering machine in Jackie Brown's bedroom is Quentin's. See more »
Quentin Tarantino follow up to the hysterical response generated by his suitably hysterical first two movies was 'Jackie Brown', an altogether more restrained film that garnered a somewhat more restrained set of reviews. Perhaps the relative lack of impact made by this film explains his subsequent return to extremes with 'Kill Bill'. But in some ways this is a shame, as there's a lot to enjoy in 'Jackie Brown', particularly in the universally first rate performances the director manages to get out of his distinguished cast. Robert Forster is wise and weary as a middle-aged bail bondsman, Samuel L. Jackson plays a criminal with all of the menace and none of the charm of his character in 'Pulp Fiction', while Bridget Fonda and a (cast against type) Robert de Niro are entertaining as a pair of useless crack-heads. Best of all is former blaxploitation star Pam Grier in the title role, combining human warmth and coolness under fire with considerable charm. The generic Ellmore Leanard plot is ultimately not quite as clever as it promises to be, and as as ever with Tarantino, both tone and taste are sometimes questionable: the early sequence 'Women Who Love Guns' is very funny, but it's quite unclear whether it's intended as satire or celebration. Nonetheless, once one adds in a typically splendid soundtrack, everything adds up to a movie far above the average crime thriller, and for all the breathtaking invention of his other movies, it's enough to make one wish that Tarantino didn't usually feel the need to try so very hard.
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