Two separate sets of voluptuous women are stalked at different times by a scarred stuntman who uses his "death proof" cars to execute his murderous plans.
Quentin Tarantino and Robert Rodriguez's homage to exploitation double features in the 60s and 70s with two back-to-back cult films that include previews of coming attractions between them.
In Nazi-occupied France during World War II, a plan to assassinate Nazi leaders by a group of Jewish U.S. soldiers coincides with a theatre owner's vengeful plans for the same.
After an experimental bio-weapon is released, turning thousands into zombie-like creatures, it's up to a rag-tag group of survivors to stop the infected and those behind its release.
Director:
Robert Rodriguez
Stars:
Rose McGowan,
Freddy Rodríguez,
Josh Brolin
The middle-aged stewardess Jackie Brown smuggles money from Mexico to Los Angeles for the arms dealer Ordell Robbie. When she gets caught by the agents Ray Nicolet 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 56-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 complicated confidence game with Max to steal half a million dollars from Ordell.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
During the interrogation scene where Jackie is taken into custody, Detective Dargas (Michael Bowen) stated that anyone in possession of over ten thousand dollars should declare it to U.S. Customs. This is based on the regulations coded by the Internal Revenue Service under Title 26 (tax code, enacted August 16, 1954, known as the Internal Revenue Code Act later amended in 1986 under the Tax Reform Act) and under Title 31 USC 5311 of the United States Code. It is against I.R.S. regulations for an individual to carry over ten thousand dollars in currency (in this case, a cash transaction) without reporting it to U.S. Customs when entering the United States. This is further codified under Federal Law, under 31 U.S.C. 5316 and Treasury Department regulations (31 CFR Chapter X), individuals who enter the United States with over ten thousand dollars in cash (or other monetary instruments, like stocks or bonds), must file (after April 25,1990) a FinCEN 105 document. FinCEN is the Financial Crimes Enforcement Network, which is a division of the Department of the Treasury. See more »
Goofs
Ordell attempts to explain the popularity of .45 pistols being due to their presence in the Hong Kong film classic, The Killer, However, as an arms dealer, Ordell would know that this incorrect for multiple reasons.
the .45 in the 1911A1 variation was the US military's primary semiautomatic sidearm from its introduction prior to WWI until its replacement by the Beretta M9 in the mid-1980s. Millions were manufactured and sold both to the military as well civilian buyers. Even the gangsters of Prohibition and the violent post-Prohibition era in the early and mid 1930s employed .45's due to its reliability and impact power, as well as its ammunition also being the same as that used in the popular Thompson sub machine gun. See more »
Quotes
[first lines]
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.
Jackie Brown:
[greeting passengers]
Buenos dias. Welcome aboard. Welcome aboard.
See more »
Crazy Credits
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 »
Alternate Versions
The following deleted scenes are included on the DVD:
Extended scene with Jackie/Sheronda in the mall's food court.
Extended scene with Jackie and Ray in the diner.
A scene where Louis and Ordell walk into the Cockatoo.
A scene where Jackie is discussing with Max how to set up Ordell.
Strawberry Letter 23
(1977)
Written by Shuggie Otis
Performed by Brothers Johnson
Courtesy of A&M Records, Inc.
By Arrangement with PolyGram Film & TV Licensing See more »
Where does a director go after making two colossal worldwide hits?
"Reservoir Dogs" (1992) and "Pulp Fiction" (1994) were two of the greatest movies ever made, and they launched director Quentin Tarantino into the realm of Mainstream Hollywood Director. Most of the time, a director faced with this reality will sink into a slew of really bad movies, but so far Tarantino has been either extremely lucky or extremely talented - his third feature film, although lacking in the brutality of its predecessors, contains just as much wit. Based upon the Elmore Leonard novel "Rum Punch," it's packed with the clever dialogue that Leonard is known for in his writing. It's also got a good amount of style, too. It's not a typical Tarantino movie, but is that necessarily a bad thing? In this particular instance, no.
Jackie Brown (Pam Grier) is a flight stewardess forced into running jobs for Ordell (Samuel L. Jackson), a ruthless criminal who has no respect for life - or death, for that matter. However, during one of her smuggling efforts, a couple of FBI Agents (including Michael Keaton) nab her and offer her a deal: If she helps them get Ordell, she will be let free from custody. The Feds do not know who Ordell is, but they know he exists, and that is where Jackie comes in. She reluctantly agrees to participate in their sting operation, but all is not what it seems. And when $500,000 dollars disappears from his retirement fund, Ordell stops, thinks, and arrives upon the conclusion that we all anticipate with glee: Jackie Brown did it.
His partner in crime, Louis (the wonderful Robert De Niro), also decides to double-cross Ordell, with the help of a sexy blonde ditz named Melanie (Bridget Fonda), The movie's twisting plot line and intersecting story lines is very reminiscent of "Pulp Fiction," and De Niro's underrated performance is a real stand-out. The movie's quite well made and enjoyable.
Don't misinterpret what I'm saying. This is no "Reservoir Dogs," nor does it want to be. It's not in the same vein as Tarantino's other movies, at least not at a superficial level. However, it is extremely entertaining, helped along by a great cast and a terrific script. The only difference here is that Tarantino did not come up with everything by himself. He adapted the screenplay from another source, something he usually doesn't do. But there's also a little-known fact that Roger Avary co-wrote some of "Dogs" and "Fiction" with Tarantino, as well as sparked the idea for some of his films. Here, Quentin adapts Leonard's novel and does justice. People who say it isn't as good as his other movies because it's recycled obviously don't know what they're talking about.
Tarantino started out as a video store clerk, and is the movie buff's filmmaker. Not only does Tarantino share a deep passion for films, but he also knows what most of the real movie enthusiasts want. He has yet to disappoint me with any of his directorial efforts. His own life story would make an interesting movie, and indeed it did with "True Romance," partially based on Tarantino's own self-image of himself. (A geek working at a comic book store falls in love and goes off of an adventure into a new realm -- in Tarantino's own case, it was film-making. For Clarence, from "True Romance," it was drugs and murder.)
Tarantino has a flair for raw energy in all of his films, and "Jackie Brown" is no exception. The movie is bursting at its edges, packed with wild antics and the occasional fierce brutality. The movie was criticized by Tarantino's die-hard fans for being too different from his other films. However, the mistake of many directors is to repeat the same formulas over and over again. One must at least give Tarantino credit for trying new things in each of his films. If anything, the only thing that Tarantino likes to insert into all his films is a large source of energy. And is that a bad thing?
4.5/5 stars.
130 of 166 people found this review helpful.
Was this review helpful to you?
| Report this
Where does a director go after making two colossal worldwide hits?
"Reservoir Dogs" (1992) and "Pulp Fiction" (1994) were two of the greatest movies ever made, and they launched director Quentin Tarantino into the realm of Mainstream Hollywood Director. Most of the time, a director faced with this reality will sink into a slew of really bad movies, but so far Tarantino has been either extremely lucky or extremely talented - his third feature film, although lacking in the brutality of its predecessors, contains just as much wit. Based upon the Elmore Leonard novel "Rum Punch," it's packed with the clever dialogue that Leonard is known for in his writing. It's also got a good amount of style, too. It's not a typical Tarantino movie, but is that necessarily a bad thing? In this particular instance, no.
Jackie Brown (Pam Grier) is a flight stewardess forced into running jobs for Ordell (Samuel L. Jackson), a ruthless criminal who has no respect for life - or death, for that matter. However, during one of her smuggling efforts, a couple of FBI Agents (including Michael Keaton) nab her and offer her a deal: If she helps them get Ordell, she will be let free from custody. The Feds do not know who Ordell is, but they know he exists, and that is where Jackie comes in. She reluctantly agrees to participate in their sting operation, but all is not what it seems. And when $500,000 dollars disappears from his retirement fund, Ordell stops, thinks, and arrives upon the conclusion that we all anticipate with glee: Jackie Brown did it.
His partner in crime, Louis (the wonderful Robert De Niro), also decides to double-cross Ordell, with the help of a sexy blonde ditz named Melanie (Bridget Fonda), The movie's twisting plot line and intersecting story lines is very reminiscent of "Pulp Fiction," and De Niro's underrated performance is a real stand-out. The movie's quite well made and enjoyable.
Don't misinterpret what I'm saying. This is no "Reservoir Dogs," nor does it want to be. It's not in the same vein as Tarantino's other movies, at least not at a superficial level. However, it is extremely entertaining, helped along by a great cast and a terrific script. The only difference here is that Tarantino did not come up with everything by himself. He adapted the screenplay from another source, something he usually doesn't do. But there's also a little-known fact that Roger Avary co-wrote some of "Dogs" and "Fiction" with Tarantino, as well as sparked the idea for some of his films. Here, Quentin adapts Leonard's novel and does justice. People who say it isn't as good as his other movies because it's recycled obviously don't know what they're talking about.
Tarantino started out as a video store clerk, and is the movie buff's filmmaker. Not only does Tarantino share a deep passion for films, but he also knows what most of the real movie enthusiasts want. He has yet to disappoint me with any of his directorial efforts. His own life story would make an interesting movie, and indeed it did with "True Romance," partially based on Tarantino's own self-image of himself. (A geek working at a comic book store falls in love and goes off of an adventure into a new realm -- in Tarantino's own case, it was film-making. For Clarence, from "True Romance," it was drugs and murder.)
Tarantino has a flair for raw energy in all of his films, and "Jackie Brown" is no exception. The movie is bursting at its edges, packed with wild antics and the occasional fierce brutality. The movie was criticized by Tarantino's die-hard fans for being too different from his other films. However, the mistake of many directors is to repeat the same formulas over and over again. One must at least give Tarantino credit for trying new things in each of his films. If anything, the only thing that Tarantino likes to insert into all his films is a large source of energy. And is that a bad thing?
4.5/5 stars.