Rating: 
Summary: The Crown Jewel of 90s Cinema
Review: No words can describe how incredible this movie really is! Some say it is to violent, but there are only seven deaths in the movie, Bullets Over Broadway has five more. Also, the violence is either cut away before shown, or it is off camera. Jules Winnfield and Vincent Vega are like savior angels to come rescue us from the dreary world of cinema we've been trapped in! The witty dialogue and tone of the movie will have audiences laughing, gasping, and applauding. Give it a chance, you either like it or you don't. Of course, you'll have no taste if you don't.
Rating:
Summary: incredible movie
Review: This movie could very well be the best movie ever made to date. This could be a little exaggerated, but I think that it is a distict possibility. Samuel L. Jackson's character, Jules Winnfield, is probably one of the best character's ever in a movie. His dialect is incredible, and Ezekiel 25: 17 is a great great quote. Quentin Tarantino expresses his complete intelligence (and insanity) in this flick. I would highly recommend purchasing this movie, because you will not regret it...
Rating: 
Summary: Excellent movie, but this set not worth the value
Review: I absolutely love this movie; it is one of the few films that would be I would catch on cable late at night and I would find myself staying up just to finish watching it. I find it enjoyable on every viewing. With that said, I was incredibly disappointed in the value of this box set when I bought it. First off, the packaging: The set contains 3 discs; two were devoted to the movie and one to the soundtrack. However, the box only contained *two* slots instead of three; the first disc of the movie actually was inserted inside the 16-page booklet as opposed getting its own slot. The two discs devoted to the movie is that of the Special Edition of the movie that is available in stores. I expected that. What I didn't expect is that the third disc, the soundtrack disc, is only a 6-song CD. Even the original soundtrack released in 1994 had more material. I was hoping for the special collector's edition of the soundtrack that was released recently, but I did not even get the original soundtrack. In addition to the 16-page booklet mentioned above, the only other special item that was included was a Senitype film frame. There is also a "free" mail-in poster offer, but it requires the consumer to pay $7.95 for shipping and handling. Unless you really want the film frame, I recommend buying the Special Collector's Edition of the movie and soundtrack separately. You'll end up spending less and get more. You can probably buy the movie poster for less too. This movie is part of the "Classic Collection." Although I do not own any other movies under that collection and for all I know the other sets may contain more bang for the buck, the experience I had with this set will get me to hesitate to purchase future selections in this collection in the future. The 3 stars I give is strictly for the movie.
Rating:
Summary: I hate writing titles
Review: Great writing, quick witted, funny, intelligent. It never overdo's the melodrama, comedy or brutality. It's a trailblazer, wholly original and carries the mark of all marketable trailblazer's in that it spawned countless cliche's. I miss Tarentino, what happened to him? He's the type of person you (or I) just want to hang out with. Jackie Brown and Resovoir Dogs were both highly inventive and interesting and all that but this one just pulls ahead. So many intwined stories, it is so not linear and yet sequeanced perfectly to further the movie. I'd still like to find out though, what was in the breifcase.
Rating:
Summary: One of the great and most original films of the nineties
Review: A decade after Quentin Tarantino produced two absolute classics in RESERVOIR DOGS and PULP FICTION, many of us are still waiting for him to redisplay the enormous virtuosity evidence in both of these films. Although not a bad film, FOXY BROWN was a bit of a disappointment, and we will have to wait and see what happens with KILL BILL and INGLORIOUS BASTARDS, the former finished and scheduled for a fall 2003 release, the latter scheduled to begin shooting in late 2003. For me, PULP FICTION was as original and as exciting as any film I had seen in ages when it came out in 1994, and I was looking forward to a worthy successor to it. I am still looking forward to it. (Note: in late 1994 I was even asked by a WGN Chicago film crew--which was polling Chicagoans leaving the theater--my favorite film of the year, and I replied instantly: PULP FICTION.) This disappointment aside, PULP FICTION was one of the most incredible film experiences of my life. Retaining much of the edge and incredible dialog that was found in both RESERVOIR DOGS and TRUE ROMANCE, for which Tarantino wrote the script, but injecting precisely the right blend of Americana and popular culture, the film blew me out of my seat. Immediately after seeing it, I saw it again, and then again. The film had style and swagger to burn, humor to soften the violence and give it a surreal turn, and simple the greatest talk I had ever heard in the movies. All the characters in the film love to talk, and many are brilliant at it. PULP FICTION is filled with more great moments than are usually found in three or four good films added together. Many of the segments are more or less self-contained, and would be classics on their own, but added to the others produce something even greater than the sum of its parts. You get the extraordinary hit that Samuel L. Jackson and John Travolta make at the beginning of the film. The surreal trip to the nostalgia diner and twist contest with Travolta and Uma Thurman. The unbelievable sequence with Bruce Willis and the "Gimp." Christopher Walken's tale about the watch and its presentation to the young Bruce Willis character. And this listing doesn't come close to naming all the best moments in the film, and leaves out perhaps the best of the bunch, Samuel L. Jackson's extraordinary scene to end the film. What a cast! There are a host of great performances, although I have to express some perplexity as to why Travolta received the nomination for Best Actor and not Samuel L. Jackson. While Travolta has one more scene than Jackson, in all the scenes where the two are together, Jackson absolutely and utterly dominates the action. We don't listen to Travolta; we listen to Jackson. If you removed Travolta from those scenes, nothing would be lost. Remove Jackson, and you wouldn't have anything remotely resembling the same scene. Still, Travolta is good, if not as dominating as Jackson. So many performers excel: Uma Thurman, Ving Rhames, Tim Roth, Amanda Plummer, the stunning Harvey Keitel, Eric Stolz, Christopher Walken. And to this day it remains the best thing that Bruce Willis has ever done. Special mention must also be made of the superb soundtrack. I'm not sure that a soundtrack has ever been used to greater effect than in this one, from edgy rawness of Dick Dale's "Misirlou" (helping to reacquaint many with the man who truly is the King of the Surf Guitar) to Dusty Springfield's "Son of a Preacher Man" to Al Green's "Let's Stay Together" to Chuck Berry's "You Never Can Tell" the music doesn't merely adorn the film but establishes the proper mood and carries the story forward.
Rating:
Summary: Whoa... That rocked!!!
Review: Pulp Fiction is one of the most perfect films I have ever sat down to watch. The dialogue is awesome, and the directing is awesome. This just happens to be my 2nd favorite movie of all-time. It often stalls, but really gets going. The plot unfolds itself perfectly. This is a true masterpiece due to Quentin Tarantino's direction. It has great action, great humor, and great suspense. What else is there to say? WATCH IT NOW!!!
Rating:
Summary: One of my favorite movies
Review: "Pulpfiction" is probably one of the best movies ever made. Many people think it is one of the worst. It had great writing, acting, and had a plot. Not a good movie if you are slow. Very fast paced.
Rating:
Summary: A Pure Masterpiece
Review: I have yet to see one film that produced such a feeling as that of "Pulp Fiction". Quentin Tarantino is one of, if not the most, brilliant directors of all time. With Roger Avery by his side, they created a dialogue in Pulp Fiction that left me stunned (oh man I shot Marvin in the face!), breathless (Samuel L. Jackson's gunpoint speech to ringo in the very end), and in laughter tears (when i finished with the towel it didn't look like no G*D D*MN maxi pad!). Tarantino greatly ties multiple people's lives with crime, money, sex, and drugs, and makes all of them into one. There is no real theme, or main idea in Pulp Fiction, it is just various tales of life, with the pros and cons of everyone's. You just need to watch it, and patience will not be required, because you will feel like you could watch it forever. This is one of those movies you will never "get sick of" or wish you had never spent the money to buy it. The acting is incredible. John Travolta was resurrected. All actors in this became much more popular based on the films gigantic success. Also, one thing i must mention, is the soundtrack. If you ever tried to think of what good songs to play at any moment, you can never reach any that would fit the corresponding situation. You can tell Tarantino had some part of the music in this film, because it speaks along with him. That's the greatest thing about him. He...knows the world and people's thoughts better than anyone else. You can distinguish him from all directors, just as you can distinguish Pulp Fiction from any other movie. And the same goes for Jackie Brown, Reservoir Dogs, etc.(also excellent) films I would recommend this movie to anyone, but who is intelligent enough to understand its complex foundation, and, well ok, not offended by strong language or violence (but it is not that bad). This movie became a basis for many movies to follow, and it has been called the greatest cult film of all time. This film truly is a masterpiece. It is incredibly written, acted, and moving. Pulp Fiction is my favorite movie of all time, and it will not be soon forgotten as a classic to the worldwide public.
Rating:
Summary: Royale with Cheese...
Review: Quentin Tarantino is the Jerry Lee Lewis of cinema, a pounding performer who doesn't care if he tears up the piano, as long as everybody is rocking. His new movie "Pulp Fiction" is a comedy about blood, guts, violence, strange sex, drugs, fixed fights, dead body disposal, leather freaks, and a wristwatch that makes a dark journey down through the generations. Seeing this movie last May at the Cannes Film Festival, I knew it was either one of the year's best films, or one of the worst. Tarantino is too gifted a filmmaker to make a boring movie, but he could possibly make a bad one: Like Edward D. Wood Jr., proclaimed the Worst Director of All Time, he's in love with every shot - intoxicated with the very act of making a movie. It's that very lack of caution and introspection that makes "Pulp Fiction" crackle like an ozone generator: Here's a director who's been let loose inside the toy store, and wants to play all night. The screenplay, by Tarantino and Roger Avary, is so well-written in a scruffy, fanzine way that you want to rub noses in it - the noses of those zombie writers who take "screenwriting" classes that teach them the formulas for "hit films." Like "Citizen Kane," "Pulp Fiction" is constructed in such a nonlinear way that you could see it a dozen times and not be able to remember what comes next. It doubles back on itself, telling several interlocking stories about characters who inhabit a world of crime and intrigue, triple-crosses and loud desperation. The title is perfect. Like those old pulp mags named "Thrilling Wonder Stories" and "Official Detective," the movie creates a world where there are no normal people and no ordinary days - where breathless prose clatters down fire escapes and leaps into the dumpster of doom. The movie resurrects not only an aging genre but also a few careers. John Travolta stars as Vincent Vega, a mid-level hit man who carries out assignments for a mob boss. We see him first with his partner Jules (Samuel L. Jackson); they're on their way to a violent showdown with some wayward Yuppie drug dealers, and are discussing such mysteries as why in Paris they have a French word for Quarter Pounders. They're as innocent in their way as Huck and Jim, floating down the Mississippi and speculating on how foreigners can possibly understand each other. Travolta's career is a series of assignments he can't quite handle. Not only does he kill people inadvertently ("The car hit a bump!") but he doesn't know how to clean up after himself. Good thing he knows people like Mr. Wolf (Harvey Keitel), who specializes in messes, and has friends like the character played by Eric Stoltz, who owns a big medical encyclopedia, and can look up emergency situations. Travolta and Uma Thurman have a sequence that's funny and bizarre. She's the wife of the mob boss (Ving Rhames), who orders Travolta to take her out for the night. He turns up stoned, and addresses an intercom with such grave, stately courtesy Buster Keaton would have been envious. They go to Jack Rabbit Slim's, a 1950s theme restaurant where Ed Sullivan is the emcee, Buddy Holly is the waiter, and they end up in a twist contest. That's before she overdoses and Stoltz, waving a syringe filled with adrenaline, screams at Travolta, "YOU brought her here, YOU stick in the needle! When I bring an O.D. to YOUR house, I'LL stick in the needle!" Bruce Willis and Maria de Medeiros play another couple: He's a boxer named Butch Coolidge who is supposed to throw a fight, but doesn't. She's his sweet, naive girlfriend, who doesn't understand why they have to get out of town "right away." But first he needs to make a dangerous trip back to his apartment to pick up a priceless family heirloom - a wristwatch. The history of this watch is described in a flashback, as Vietnam veteran Christopher Walken tells young Butch about how the watch was purchased by his great-grandfather, "Private Doughboy Orion Coolidge," and has come down through the generations - and through a lot more than generations, for that matter. Walken's monologue builds to the movie's biggest laugh. The method of the movie is to involve its characters in sticky situations, and then let them escape into stickier ones, which is how the boxer and the mob boss end up together as the captives of weird leather freaks in the basement of a gun shop. Or how the characters who open the movie, a couple of stick-up artists played by Tim Roth and Amanda Plummer, get in way over their heads. Most of the action in the movie comes under the heading of crisis control. If the situations are inventive and original, so is the dialogue. A lot of movies these days use flat, functional speech: The characters say only enough to advance the plot. But the people in "Pulp Fiction" are in love with words for their own sake. The dialogue by Tarantino and Avary is off the wall sometimes, but that's the fun. It also means that the characters don't all sound the same: Travolta is laconic, Jackson is exact, Plummer and Roth are dopey lovey-doveys, Keitel uses the shorthand of the busy professional, Thurman learned how to be a moll by studying soap operas. It is part of the folklore that Tarantino used to work as a clerk in a video store, and the inspiration for "Pulp Fiction" is old movies, not real life. The movie is like an excursion through the lurid images that lie wound up and trapped inside all those boxes on the Blockbuster shelves. Tarantino once described the old pulp mags as cheap, disposable entertainment that you could take to work with you, and roll up and stick in your back pocket. Yeah, and not be able to wait until lunch, so you could start reading them again.
Rating:
Summary: I *HATED* this movie the first time I watched it....
Review: because I didn't get what I expected. Some movies are great because of the acting, some because of the story, some because of the cinematography. This movie is great because of the dialogue, and it's awfully hard to appreciate the dialogue and how it builds up the plot and tension in the movie the first time through. Why is Vincent (Travolta) so upset when Marsellus's wife Mia(Thurman) OD's on his heroin? Because of the exchange that he had with Jules (Jackson) about the guy who Marsellus threw out of a four-story window because he massaged Mia's feet (which we actually find out later was actually just a handshake). Vincent can only imagine what Marsellus will do to him if Mia dies. The dialogue builds on itself and creates the environment which the characters live in. The characters almost never talk *about* what's happening, so the dialogue runs perpendicular to the story. But it still ties the different elements together. You need to watch this movie at least twice to appreciate it. Also, I would recommend reading Ebert's review of Pulp Fiction in his Great Movies book.
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