The early life and career of Vito Corleone in 1920s New York is portrayed while his son, Michael, expands and tightens his grip on his crime syndicate stretching from Lake Tahoe, Nevada to pre-revolution 1958 Cuba.
Jules Winnfield and Vincent Vega are two hitmen who are out to retrieve a suitcase stolen from their employer, mob boss Marsellus Wallace. Wallace has also asked Vincent to take his wife Mia out a few days later when Wallace himself will be out of town. Butch Coolidge is an aging boxer who is paid by Wallace to lose his next fight. The lives of these seemingly unrelated people are woven together comprising of a series of funny, bizarre and uncalled-for incidents. Written by
Ranked #1 movie in Entertainment Weekly's "The New Classics: Movies" (issue #1000, July 4, 2008). See more »
During the Big Kahuna burger scene, Jules put down his drink and a paper bag appears next to it. The bag then disappears and reappears several times between shots. 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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Long Haired Yuppie Scum - Lawrence Bender See more »
The rebirth of the gangster movie and film history
Would it be too much to say Tarantino re-invented the gangster movie with this film? I can only speak for myself, but I had never seen anything as cleverly constructed, well written and electrifying as this milestone when I first saw it in 1994. It all starts with what we've now come to know as a Tarantino trademark: the dialogue. When gangsters Jules and Vincent talk to each other (or all the other characters, for that matter) there is a natural flow, a sense of realism and yet something slightly over the top and very theatrical about their lines it's a mixture that immediately captures your attention (even if it's just two dudes talking about what kind of hamburger they prefer or contemplating the value of a foot-massage). Then there's the music: the songs Tarantino chose for his masterpiece fit their respective scenes so perfectly that a great many of those pieces of music are now immediately associated with 'Pulp Fiction'. And then the narrative: the different story lines that come together, the elegantly used flashbacks, the use of "chapters" there is so much playful creativity here, it's just staggering.
If you're a bit of a film geek, you realize how much knowledge about film and love for the work of other greats and inspiration from them
went into this (Leone, DePalma, Scorsese and many more), but to those
accusing Tarantino of copying or even "stealing" from other film-makers I can only say: They have got to be out of their minds! There has never been an artist who adored his kind of art that was not inspired by other artists, and if you watch Tarantino's masterpiece it's impossible not to recognize just what a breath of fresh air it was (still is, actually). Somehow, movies - especially gangster films - never looked quite the same after 'Pulp Fiction'. Probably the most influential film of the last 20 years, it's got simply everything: amazing performances (especially Sam Jackson); it features some of the most sizzling, iconic dialogue ever written; it has arguably one of the best non-original soundtracks ever - it's such a crazy, cool, inspirational ride that you feel dizzy after watching it for the first time. It's well: it's 'Pulp Fiction'. 10 stars out of 10.