The early life and career of Vito Corleone in 1920s New York is portrayed while his son, Michael, expands and tightens his grip on his crime syndicate stretching from Lake Tahoe, Nevada to pre-revolution 1958 Cuba.
A cab driver finds himself the hostage of an engaging contract killer as he makes his rounds from hit to hit during one night in Los Angeles. He must find a way to save both himself and one last victim.
Jackie Brown is the name of a flight attendant who gets caught smuggling her boss' gun money on the airline she works for. Luckily for her, the Fed Ray Nicolet and the LA Cop Mark Dargus decide to team up in order to arrest the arms dealer she works for, whose name they don't even know. Here's when she has to choose one way: tell Nicolet and Dargus about Ordell Robbie (the arms dealer) and get her freedom -except that if Ordell suspects you're talking about him, you're dead- or keep her mouth shut and do some time. That's when she meets Max Cherry -her bail bondsman-, a late fifties, recently separated, burnt-out man, who falls in love with her. Then Jackie comes up with a plan to play the Feds off against Ordell and the guys he works with -Louis Gara and Melanie Ralston, among others- and walk off with their money. But she needs Max's help. No one is going to stand in the way of his million dollar payoff... Written by
Héctor Barca <email@example.com>
When Jackie leaves the dressing room after making the switch and when Louis and Ordell are at the bar. See more »
The first time we see Jackie pointing to the fitting rooms, she uses her right hand. The second time, she uses her left. Quentin Tarantino frequently uses this kind of inconsistency in "replayed" scenes in his films, to show the same scene from many different perspectives. 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.
See more »
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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