When the menace known as the Joker emerges from his mysterious past, he wreaks havoc and chaos on the people of Gotham. The Dark Knight must accept one of the greatest psychological and physical tests of his ability to fight injustice.
Jules Winnfield (Samuel L. Jackson) and Vincent Vega (John Travolta) are two hit men who are out to retrieve a suitcase stolen from their employer, mob boss Marsellus Wallace (Ving Rhames). Wallace has also asked Vincent to take his wife Mia (Uma Thurman) out a few days later when Wallace himself will be out of town. Butch Coolidge (Bruce Willis) is an aging boxer who is paid by Wallace to lose his fight. The lives of these seemingly unrelated people are woven together comprising of a series of funny, bizarre and uncalled-for incidents.Written by
(at around 14 mins) In the Big Kahuna burger scene, the paper cup (with Sprite) changes its position, judging by its label. See more »
Forget it. Too risky. I'm through doing that shit.
You always say that. That same thing every time, "I'm through, never again, too dangerous".
I know that's what I always say. I'm always right, too.
But you forget about it in a day or two.
Yeah, well the days of me forgetting are over, and the days of me remembering have just begun.
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The opening credits end with Produced by Lawrence Bender. Usually movies end opening credits with the Director's credit, however Written and Directed by Quentin Tarantino starts the end credits. See more »
The network television version makes the following alterations:
Dubbed dialogue in Pumpkin and Honey Bunny's opening conversation
Omission of the entire scene after Vincent and Jules get off the elevator talking about foot massages
Omission of a part of the drug transaction scene starting with Vincent's discussion of how his car was keyed
Omission of the "shooting-up" sequence
The audio of Uma Thurman snorting cocaine as "Son of a Preacher Man" plays is absent
Inclusion of the "Mia Wallace" interview scene
Omission of the scene where Vincent finds Mia in her overdosed condition
Omission of the "oral pleasure" scene
When Butch opens the door to reveal the sodomy of Marsellus, an image of Maynard has been superimposed to prevent from seeing Zed's actual thrusting
Omission of the entire scene where Jules and Vincent argue after blowing Marvin's head off (both in the car and in Jimmy's bathroom)
Omission of the entire scene of Jules and Vincent cleaning up the back of the car
Among the list of words cut out: all variations of "fuck", "shit", "God damn", and "nigger". The use of the word "bitch" is permitted in some cases ("Does he look like a bitch?") but not in others ("Tell that bitch ['babe' in the TV version] to be cool!")
One of the Best Film's I've Seen In A LONG Time... and still is
Quentin Tarantino's Pulp Fiction is a terrific film. It also gets better with each viewing, especially if one of those happens to be on a big theatrical screen where all of the BIG compositions get bigger and more detailed. How much else is there to talk about it after all these years? It's filled with dynamite, sudden and always interesting action, great and naturally clever dialogue, and memorable characters. Also, the acting is always something to behold as by turns straightforward, over the top, subtle, and just downright menacing and spot-on. The directing is one of the strongest that we've seen from Tarantino, as he makes his choices in pacing with shots in unconventional ways but never in a way that would be distracting. And writing, already noted, has been copied by many, and only equaled by a select few.
The dance sequence. Samuel L. Jackson's superlative monologuing. It has loyalty among low lifes, and many other odd characters that are all bad and not one is a villain or hero. And somehow even after years of parody and terrible rip-offs, it holds its own and- as one can say after seeing it at a midnight screening- holds its audience as much as it had the countless times before they saw it (or if they are, the first time). The first time you're surprised, the second time you look for the clues or other ambiguity, and then the third time you laugh you head off. The fourth time... I'll leave to you.
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