After a simple jewelry heist goes terribly wrong, the surviving criminals begin to suspect that one of them is a police informant. (IMDb)
Showing only the before and after of the heist job is a unique conceit that could easily flop without a strong script; fortunately, Tarantino fully delivers with car trunk loads of sizzling mono/dialogues (the strong cast never wavers in numerous lengthy scenes) and a compelling back-and-forth-in-time narrative that perfectly develops the characters (see the Mr. Orange twist; wanted an official Mr. Pink intro though). Deliberate, artistic camerawork (see the final close-up) brings it all home.
The lives of two mob hit men, a boxer, a gangster’s wife, and a pair of diner bandits intertwine in four tales of violence and redemption. (IMDb)
It’s dark and bloody yet ridiculous and hilarious, and subtly clever too, as drugs, guns, and endless expletives are laced with the randomly mundane–the toaster strudels, the cheeseburgers, the radio-friendly soundtrack-and a melodramatic short-term plot takes intriguing deja vu turns. With plenty of outrageous dialogue (Jackson and Travolta are gold), black comedy (see the Wolf’s cover-up), and off-kilter characters (Willis is another gem), Pulp Fiction has no trouble living up to its name.
A uniquely internally-focused superhero movie (following the superhero seeking to get rid of his destructive power) up until the standard and eye-rolling ending in which he embraces his power in a mediocre fight/destruction scene. It’s an abrupt and disappointing switch, and nearly crushes Norton’s captivating and mature performance that was already struggling amidst weak supporting characters to hold the weight of the film’s premise by itself. Good potential is only partially realized here.