Rating: 
Summary: When is this going to be a DVD
Review: I am a casual movie watcher and I loved this movie. I enjoyed Pulp Fiction but have not seen Resivoir Dogs. I am waiting for this movie to come out on DVD because it was just a really fun movie for me to watch
Rating:
Summary: A 'Long Time Woman' gets her due
Review: I waited a long time to see "Jackie Brown", because I heard it wasn't any good, and I didn't want to tarnish the memory of "Reservoir Dogs" or "Pulp Fiction". Both those films were kinetic, profane, daring, and truly visceral experiences. I loved every minute of them. "Jackie Brown" is a horse of a different colour, however. It is low-key, thoughtful, tender, and assured. And, I must say, just as good.One of the main criticisms leveled against it, that I've heard, is that it's too long and too slow. Well, compared to "Pulp Fiction", which is about the same length, of course you'd think it was too slow. But that's the way this story needs to be told, for one simple reason. "Pulp Fiction" was about young, experienced criminals, always on the go, always in control. They could afford to move quickly. "Jackie Brown"s criminals are a touch older. Jackie Brown and Bail Bondsman Max Cherry even have a conversation about what it means for men to get older (they lose their hair) verses what it means for women to get holder (their behinds get bigger). It's actually kind of a touching, and very odd, moment to have in the middle of what should be a zippy little heist flick. Another way it differs from "Pulp" or "Dogs" (which would lead people to believe that it's sluggish) is the lack of gunplay. Tarantino's earlier films were defined by the style and abundance of their shootouts. "Jackie Brown" has only six gunshots. And all are essentially off-camera, or off in the distance, producing little or no blood. Now I'm not offended by violence in movies. Not at all. But it is kind of refreshing to see a director, especially one who's made his name off it, not rely on the showy exploitation of shooting someone. When he does show it, however, the torment and suffering and guilt of the shooter is always apparent. Which brings me to the most intriguing thing about this movie. Tarantino, who the rap on in recent years has been that he's tormented by his early success and hasn't the confidence to make his next picture, actually shows a very assured hand in making this movie. Besides the above conversation between two aging characters, there are other places where he shows supreme confidence in his decisions. For instance, he's cast Robert DeNiro in his movie. Okay, a no-brainer, right? Wrong. Because he's cast DeNiro in a tiny, stoical role. Simultaneously, he's cast Robert Forster (I know he got an Oscar nod, but before that wasn't everyone asking "Robert who?") in a role that's very meaty, the tortured love-interest. A less-assured director would have switched the two actors, but Tarantino knows what he wants, and boy does he get it. DeNiro doesn't do more than he has to in creating his understated character. And Forster steals the show with his laid-back, relaxed, but always conflicted Bail Bondsman. And Forster's scenes with Jackie Brown are touching, chemistry-filled, and a joy to watch. Credit in this case should go to Pam Grier, as Jackie Brown, another Tarantino casting coup. Grier is asked to be maturely sexy, street-smart, tough, and vulnerable all at once. And she pulls it off without flaw. I suspect that Tarantino has fantasized most of his life about casting Pam Grier in a movie, and would have done so even if the role didn't suit her so. But it does. It truly does. She carries the picture as not only the title character but also its emotional centre. The rest of the cast is good in their own rights. Sam Jackson was born to speak Tarantino's dialogue, and doesn't disappoint. He makes Ordell a genuine badass, even through his ponytail and silly little beard (and Jackson, bless his heart, even throws in a nod to my home town basketball team, the Toronto Raptors). Bridget Fonda is actually quite sexy as a layabout surfer chick, whose big mouth is bound to get her into trouble. And Michael Keaton, who I've always thought of as a very underrated and interesting actor, plays his ATF agent with just enough faux-cool and indifference that you're always wondering if he's playing Jackie or if Jackie's playing him. While talking about character, I'd like to give kudos to Quentin for a neat little-shorthand trick he uses to define them. Each character essentially has his/her own soundtrack. A scene near the end, which cuts between several different characters driving in their cars, shows this very well. Cut from Melanie's (Bridget Fonda) van, where faux-eighties punk is blaring, to Max Cherry's (Robert Forster) car, which features the laid back grooves of the Delfonics, to other characters and their distinctive musical tastes. The music shifts so suddenly sometimes that it can be jarring, but it's an effective technique. Furthermore on the music front, Tarantino liberally uses the Meters' "Cissy Strut" near the beginning of the film, which quickly brought a smile to my face, and let me know that funky good times were ahead. "Jackie Brown" is a fine addition to Tarantino's oeuvre. Sure, his fingerprints are all over it in some cases, such as his distinctive use of language, and his fondness for shifting time back and forth upon itself to show the same scene from several different perspectives. But it's much more of a grown up movie. True, it's a tad too long. But just a tad. I can take excessive verbosity from Tarantino easier than I can from any other writer/director, because he's always fascinating, always moving, always trying to surprise, and always trying to tell a good story. "Jackie Brown" succeeds on all counts.
Rating:
Summary: Across 110th st.
Review: This was one of the best movies I have ever seen. The acting by Pam Grier, Robert DeNiro, and especially Samuel Jackson was supurb. I can't wait for this movie to come out on Dvd.
Rating:
Summary: Don't Forget To Meet Jackie Brown
Review: Amazingly enough Quentin Tarantino's (Reservoir Dogs, Pulp Fiction) stupendously enigmatic Jackie Brown constantly mesmerizes, habitually amuses, and solitarily overwhelms its audience with Tarantino's sheer focused manipulation of the aesthetic, dramatic, and artistic. Starring Pam Greer (Jackie Brown) in a career defining moment (akin to John Travolta's revival role in Pulp Fiction) along with an all-star cast including Robert De Niro, Samuel L. Jackson, Michael Keaton, Robert Forster, Bridget Fonda, Michael Bowen, and Chris Tucker. The film's bristles with outstandingly versatile performances, intensely creative plays on Tarantino's patented formula, and a newfound narrative looseness not quite found in his previous work. Again it appears Tarantino can do no wrong as he cinematically adapts Elmore Leonard's Rum Punch for the screen. Containing all the trademark Tarantino pop-culture references, sardonically catchy dialogue, blatantly shocking imagery, terrifically dynamite performances, and an chronologically disrupted narrative, Jackie Brown follows the tale of a down and out airline stewardess who inexplicitly finds herself involved in Ordell Robbie's (Samuel L. Jackson, again in fine form) criminal gun-running enterprise and ATF agent Ray Nicolette's (Michael Keaton also in great form) law enforcement operation. Caught in between possible incarceration on one side and assassination on the other, Jackie concocts a devious ploy upon criminal greed and law enforcement single-mindedness by working both fronts hopefully unearthing a way to get herself out this mess without alarming either side. Pam Grier, having her first leading role in years, radiantly shines as the quirky fiendishly no-nonsense middle-aged broad mastermind willing to do almost anything to stop herself from starting over. Jackie may no longer be a spring chicken or startling beauty but she still has the mental scruples necessary to stay alive, and Greer articulates this massively sympathetic character at the jugular of the audience's sensibilities. Greer's Jackie Brown is a liberated woman in a keenly realized modern setting who questionably tries to the traverse the Tarantino-brick road of unpredictability with hilariously provocative results. Lavishly laced with a host of remarkably enduring criminal personalities including Jackson's passably intelligent criminally deprecating Small Arms dealer, De Niro's recently released seemingly happy-go-lucky ex-con who appears to have
misplaced a lot more than years from his life at prison, Bridget Fonda's ditsy pot-chugging rent-a-broad who's more intelligent and self-serving than those around her realize, and Chris Tucker's exceedingly self-centered chatterbox in a jam of his own creation, Jackie Brown abruptly and consistently unshackles it's bewildering stock of neurotically inspired characters on a dramatic rampage that ceaselessly astounds me with it's casts acting chomps and inventive flexibility. Towering with imposingly notable roles by almost every character, an immediately decipherable artistic narrative tenderness, and a suitably fitting thematically cohesiveness without all of his previous bombast, Jackie Brown represents a new mature level of filmmaking for Tarantino as he continues to let lose creativity on all facets and impress the masses with this deceptively simple crime tale that eludes to a lot more impressive talent and an ever growing intellect than one might have initially thought. Yet in the end, Jackie Brown will stand out as another phenomenal Tarantino character canvas of modern America that is more enthralling on every visceral level than a movie should be without coping out in the least. A MUST FOR ANY FAN OF THE MOVIES Gosh, I hope they release this out on DVD before I become a member AARP.
Rating: 
Summary: COOL AND INTELLIGENT MOVIE
Review: Based on Elmore Leonards novel "Rum Punch", Quentin Tarantino's cool and classy adaptation is considered by many (in Europe, at least) to be his most mature (agree) and perhaps finest work (probably disagree). However, whilst Jackie Brown may not have the instant impact of Reservoir Dogs or the wide appeal of Pulp Fiction it is still his coolest, most subtle and intelligent movie to date. This movie and Tarantino suffered in the wake of expectation following the critical and popular success of Pulp Fiction, with too many people expecting a retread or at least a faster paced movie. Sadly perhaps due to the dissapointing reception this received, Tarantino has not made another movie since this was made about five years ago but I have to say I loved every minute of it and Tarantino's work is very sadly missed. However, this movie (or at least the European DVD) is not as advertised by Warner Brothers. It's not an action thriller. It's much more of a slow-burn thriller, starring Pam Grier (as sexy stewardess Jackie Brown), a smuggler caught in the act by an ambitious cop (Michael Keaton), whilst working for gun-runner Ordell (played by Samuel L.Jackson). Add into the melting pot, Jackson's partner in crime ex-con Louis (Robert De Niro in a very understated performance) and other supporting turns by both Bridget Fonda as Ordell's perpetually stoned out bitchin' beach bunny girlfriend and Chris Rock in an impressive straight role and you have a very impressive ensemble cast. And whilst Michael Keaton provides great entertainment as Ray Nicollette, in a role he later reprised in Out Of Sight, the show is stolen by Pam Grier and in particular (the Oscar nominated) Robert Forster as a lonely battle worn bail bondsman, Max Cherry, who falls for the glamarous but ageing Jackie Brown. I hate reviews that tell you the whole plot, so suffice to say that this is a thriller where most of the principal characters are double dealing and double crossing each other to get their hands on Ordell's money and the rest as they say is in the telling. I certainly don't want to spoil this for anyone who hasn't already seen it (and it's certainly worth watching more than once)! It's clever, it has wonderful dialogue, an excellent cast, understated black comedy, a typically different, typically classy Tarantino style soundtrack and a great story. It just oozes class. I bought this on DVD in the UK and am pretty surprised that it doesn't seem to be available (at the moment) in this format in the US. WELL WORTH CHECKING OUT!!! ****(and a half)
Rating:
Summary: Perfect Film
Review: Not one moment of this movie was predictable, trite, boring. All the actors were superbly cast, the storyline was fascinating. Maybe one of the best crime movies ever made. Unfairly overlooked at the box office. For the life of me I don't know why. What I wouldn't give for something of this caliber from Tarantino (or anyone) in the near future.
Rating:
Summary: As Good As Pulp Fiction!!!!!
Review: I saw this movie on TV one night about a year go. It should have won every Oscar. The acting was excellent, the dialogue was brilliant and entertaining, the plot was thoroughly engrossing, and of course the directing was top notch. Quentin Tarantino is THE BEST filmmaker in Holywood, BAR NONE!! I can't say enough good things about the movie. Robert De Niro had a great minimal role as an ex-con loser; Samuel Jackson was, (need I say more), Samuel Jackson; Bridget Fonda; Pam Grier, the list goes on!I don't think QT is capable of making a bad movie. This movie had a certain "feel" about it that I haven't noticed in any other movie, save Pulp Fiction. QT brings out the best in all his actors, and his directing style is full of energy and ingenuity. Jackie Brown is a great ride, you'll love it. BTW, check out the scenes where he shows the same incident from several of the character's perspectives. It rocks!! This is the way movies were meant to be! I didn't want it to end. I had become part of that world. Mr. Tarantino: Please make another movie!!! We are dying out here!! Hollywood is drowning in a sea of mediocrity and superfluous special effects!! Remind us again of what a real movie is!!
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Summary: Jackie Brown shows us a side of life most never see
Review: I really enjoy this movie. I've seen it over and over. I think that what I liked most about it was the fact that the lead character, Jackie, decides to take a chance when push comes to shove. She recognizes that even though she's somewhat at the mercy of some very powerful men, including gun dealer Ordell and ATF agent Ray, she's smart enough to realize that they're both cocky and overly confident, and she can use this weakness to not only break away from both their control, but she can play them against each other and also get the money. She even plays Max Cherry a little, using his infatuation with her to her own advantage. There is one scene where Jackie, knowing Ordell is coming to her home after she's bailed out of jail, has a gun hidden and ready. She could have ended up a victim like Beaumont, but she knows Ordell for what he really is and not only gets out of the jam she's in, but actually gets HIM to work for HER in her scheme. There is also another very telling scene where Jackie comes home late one night and has a message on her answering machine from Max and he gives her something like 3 different phone numbers, and you can just sense the weariness in Jackie. In fact, I imagined her thinking "men are so predictable."
Rating:
Summary: Fond-a Weapons
Review: Jackie Brown: rated R, 2 hours and 40 minutes Jackie Brown is an incredibly well played movie about guns, drugs, and money. Half a million in cash is up for grabs, and the only way to obtain it is by figuring out who is playing whom.
When Jackie (a stunning Pam Grier) is caught at an airport carrying a veritably large sum of money and a bag of crack, the outline of the story is formed. Jackie is held in custody facing possible time in prison, when the deceptive Ordell, played by black talking Samuel L. Jackson steps into the picture. Ordell hires an honest bailbondsman, Max Cherry, to release Ms. Brown. While Ordell takes care of business, we see behind-the-scenes conversations between the spaced out Robert De Niro, as Lewis, and the dim-witted Bridget Fonda, as Melanie, two of Ordell's main connections. Jackie becomes caught between two sides, both with equal objectives. Ray (Michael Keaton), the cop that apprehended Jackie earlier is after small time arms dealer, Ordell, and Ordell is pulling Jackie into his scheme of acquiring the cash. Meanwhile, Lewis and Melanie have their own plans of taking the money. Jackie can't afford to get into any more legal trouble, and if she doesn't cooperate with the man she owes her freedom to, she will be killed, which sets the stage for the perfect swindle.
Quentin Tarantino, creator of Jackie Brown, is master of 'film noir', and adds an interesting perspective to one scene in particular. Jackie is forced by the feds to frame Ordell, and according to Ordell, she is supposed to double-cross them. Caught in the middle, Jackie must fake an exchange of marked bills, in order to seem loyal to both. The switch is shown through three different viewpoints, adding greatly to the effect. The first time, Jackie is shown leaving the bag of money in a dressing room. Next, Lewis and Melanie are shown actually making the exchange, with the real bag of money left behind in the dressing room, and a suspicious Max Cherry watching. Lastly, Max Cherry watches as Lewis and Melanie swap bags, and the actual bag of cash left for him to pick up. By doing this, the big picture is seen through bits and pieces. Tarantino deserves much credit for its ingenious execution, and Jackie Brown in its entirety is recognized as a success, with phenomenal acting by the whole cast, primarily Pam Grier.
Rating:
Summary: brilliant perfomances, wonderful dialogue
Review: I was underwhelmed by Reservoir Dogs, I thought Pulp Fiction one of the funniest movies I had ever seen, and now Jackie Brown makes me realize that Tarantino may be the only contemporary commercially successful American director who can be compared to the 70s boy geniuses, Altman, Coppola, and Scorsese. The reason, after watching Jackie Brown, is obvious: he is an actor's director and can write the dialogue they need. These performances, with one very disappointing exception that I'll come to, offer ingenious rythym and detail and, most impressively, blend superbly, like a first rate musical ensemble. Their styles match into a whole greater than the parts. Clearly, it isn't just that Tarantino can write the dialogue--it's that he knows how to direct it, how to conduct it. Samuel L. Jackson's bravura arias of show-off profanity are as specific and joyous as Fischer-Dieskau singing Schubert. And yes, Robert Forster and Pam Grier are both communicating here at a level of creativity for which I can find no parallel in contemporary American movies. Even Michael Keaton, an actor whose work has not really impressed me very much, is interesting here. Tarantino seems to keep a lid on him and instead of his usual excess and self-consciousness, he gives off a sense of depth. We wonder what his character is thinking, who is he, where he comes from. And Keaton's face has grown more interesting too--the wrinkled jaw, the slightly bulging eyes give him a sort of Nicholson craziness, though with more brains. A nice surprise.
DeNiro, however, is lousy. What happened? The performance is sluggish and crude. Watching him so inert amidst all these beautifully modulated perfomances made me think of Eli Wallach in The Misfits surrounded by the nervous and newer rythyms of Clift and Monroe. DeNiro, whose performances had such energy and definition back in the 70's and early 80's seems like a dinosaur here. (Is it my imagination or is the trouble only when he tries to play characters that aren't very bright? He can't do dumb without making it really boring too-- a serious limitation given the roles he takes.)
I am so thankful for Tarantino. He's one of the handfull of reasons that it's still worth going to the movies.
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