Critic Reviews
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100
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Chicago Sun-Times Roger Ebert
You savor every moment of Jackie Brown. Those who say it is too long have developed cinematic attention deficit disorder. I wanted these characters to live, talk, deceive and scheme for hours and hours.
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78
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Austin Chronicle Marc Savlov
It's a straight-ahead caper flick, very cool, and very, very Seventies (although it takes place in 1995), from production and costume design on down to the soundtrack.
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75
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Entertainment Weekly Owen Gleiberman
Each scene is staged methodically, overdeliberately, as if it concealed some payoff zinger. But the zingers don't arrive. All we see is a reasonably clever Elmore Leonard caper that needed to be treated as fast, trashy fun.
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75
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USA Today Mike Clark
Between Jackson's opining and De Niro's hopeless alibis when he messes up, Jackie is good for a bundle of bloody ho-ho-hos.
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75
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Christian Science Monitor David Sterritt
Its greatest assets are imaginative camera work and top-flight performances from Pam Grier as the heroine, Samuel L. Jackson as the deadly boyfriend, and Robert Forster as the bail-bondsman who falls battily in love with her.
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75
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ReelViews James Berardinelli
Tarantino keeps things moving along nicely, with a heavier dose of humor and less violence than in Pulp Fiction, but, on the whole, this movie seems more like the work of one of his wannabes than something from the director himself.
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75
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The Globe and Mail (Toronto) Rick Groen
Happily, the climax races to our rescue... Beyond the grasp of most directors, this is tour de force stuff -- definitely meriting the price of admission and almost worth the three-year wait.
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70
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Film Threat Ron Wells
Quentin actually made a REAL movie, with believable characters and performances, rather than just repositories for clever dialog.
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60
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Los Angeles Times Kenneth Turan
A raunchy doodle, a leisurely and easygoing diversion that goes down easy enough but is far from compelling.
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60
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TV Guide Maitland McDonagh
The giddy, "anything could happen" sense that made "Pulp Fiction" and "Reservoir Dogs" so viscerally exciting is missing here. But Tarantino's first picture in nearly three years is a faithful adaptation of Elmore Leonard's "Rum Punch," and its melancholy edge is a wistful delight.
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50
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San Francisco Chronicle Mick LaSalle
The slow pace kills the sense of urgency, and the length and breadth of the film makes the story seem insignificant. Tarantino is still someone to watch, but Jackie Brown, before it's over, becomes a who-cares proposition.
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