Press enter after choosing selection

Quentin Tarantino's Pulp Fiction

Quentin Tarantino's Pulp Fiction image
Parent Issue
Month
February
Year
1995
Copyright
Creative Commons (Attribution, Non-Commercial, Share-alike)
Rights Held By
Agenda Publications
OCR Text

01though not always easy to watch - and even harder at times to sympathize with - Quenton Tarantlno's latest film, PulpFïction, is a highfy compelling motion picture. Three interlocking stories whose shifts in time and narrative make it a fascinating post-modern fauxnoir, Tarantino's Palm d'Or surprise winnerat this year's Carmes Film Festival has all the makings of a longterm cult classic. So if it mattere, movle fans, you can rest easy. Reservoir Dogs was no fluke. Even at this early point in his career, no one can doubt that Tarantino's got the makings of a writer and director who can go the distance. Pulp Fiction's breezy zip confirms this fact without question. The movie's most compelling character is Samuel L. Jackson's incredulous hitman, Jules. This biblequoting hired killer, and his fellow lug, Vincent (John Travolta), must retrieve a mysterious briefcase belonging to their gangland boss that keeps getting repeatedly lifted. The rest of the story takes off here. Vincent must also contend with squiring the bosses' vixen, Mia (Uma Thurman) in the film's loopy first episode, "Vincent Vega and Marsellus Wallace's Wïfe." Meanwhile, mob-influenced boxer, Butch (Bruce Willis), must somehow survive a fixed fight he inadvertentiy unfixed in The Gold Watch." And finally, two remarkable twists of life and (mostly) death(s) go a long way towards persuading Jules that he's got to give up hls stressful profession in the concluding episode, The Bonnle Situation." There's a maniacally energetic glee to Pulp Fiction. When it seems Tarantino can't top himseif in this film; he does it again - and again. - excerptedfrom a review by John Carlos Canta in AGENDA November, 1994.

Article

Subjects
Agenda
Old News