|
|
|
|
|
|
Pulp Fiction (Two-Disc Collector's Edition) 
Actors : Rosanna Arquette, Steve Buscemi, Paul Calderon, Bronagh Gallagher, Peter Greene
Studio : Miramax Entertainment
by Miramax Entertainment
Brand : TRAVOLTA/JACKSON/THURMAN
Release Date : 2002-08-20
Publisher : Miramax Entertainment
Availability : Usually ships in 1-2 business days
Number of Items : 2
EAN : 9780788830549
UPC : 786936161571
Avg. Customer Rating: (based on 737 reviews)
List Price : $19.99
Our Price : $11.64
|
|
| |
|
Product Description |
A couple of hit men, a fighter forced to throw a fight, the wife of a mobster, and two would-be robbers all find redemption.
No Track Information Available
Media Type: DVD
Artist: TRAVOLTA/JACKSON/THURMAN
Title: PULP FICTION
Street Release Date: 06/07/2005
Domestic
Genre: DRAMA |
| |
|
Americancivilwar.com essential video |
|
With the knockout one-two punch of 1992's Reservoir Dogs and 1994's Pulp Fiction writer-director Quentin Tarantino stunned the filmmaking world, exploding into prominence as a cinematic heavyweight contender. But Pulp Fiction was more than just the follow-up to an impressive first feature, or the winner of the Palme d'Or at Cannes Film Festival, or a script stuffed with the sort of juicy bubblegum dialogue actors just love to chew, or the vehicle that reestablished John Travolta on the A-list, or the relatively low-budget ($8 million) independent showcase for an ultrahip mixture of established marquee names and rising stars from the indie scene (among them Samuel L. Jackson, Uma Thurman, Bruce Willis, Ving Rhames, Harvey Keitel, Christopher Walken, Tim Roth, Amanda Plummer, Julia Sweeney, Kathy Griffin, and Phil Lamar). It was more, even, than an unprecedented $100-million-plus hit for indie distributor Miramax. Pulp Fiction was a sensation. No, it was not the Second Coming (I actually think Reservoir Dogs is a more substantial film; and P.T. Anderson outdid Tarantino in 1997 by making his directorial debut with two even more mature and accomplished pictures, Hard Eight and Boogie Nights). But Pulp Fiction packs so much energy and invention into telling its nonchronologically interwoven short stories (all about temptation, corruption, and redemption amongst modern criminals, large and small) it leaves viewers both exhilarated and exhausted--hearts racing and knuckles white from the ride. (Oh, and the infectious, surf-guitar-based soundtrack is tastier than a Royale with Cheese.) --Jim Emerson |
| |
|
| |
|
No classic |
I do not deny that this much lauded Quentin Tarantino film set in a violent underworld is enjoyable. There is snappy dialogue, interesting characters - such as Samuel L. Jackson's Bible-quoting hit man, Harvey Keitel's problem solving `Wolf' and Bruce Willis's boxer on the run -, intelligent banter between the film's various characters - such as between Samuel L. Jackson and his hit man partner John Travolta and between John Travolta and his gangster boss's wife Uma Thurman when the two of them go out on a `date' -, a number of conflicts involving guns that highlight the violent underworld which the film's characters inhabit, a particularly horrifying scene that takes place in the basement of a second-hand store and even an excellent cameo from Tarantino himself as Samuel L. Jackson's testy friend who doesn't want his wife to find out about his underworld connections. But these elements unfortunately do not add up to a whole because this film is lacking the most basic ingredient that any film must possess: a plot. There just isn't one. Lots of `stuff' happens in this film but there is no story to follow, no tale being told, just the activities of a group of disparate characters who do this and that and then the film is over. It may seem strange that I am giving this film 4 stars after such criticism but that is because what there is to watch is enjoyable as I have already said, despite the film's severe shortcomings. This is a testament to Tarantino's ability to create an enjoyable film experience for the viewer. But just as candy floss is only meant to please the taste-buds and not fill the stomach likewise this film cannot be considered a meal because of what it lacks. Yes, it is enjoyable. But it is no classic.
|
| |
|
A TRUE MASTERPIECE |
|
This has to be one of the greatest films ever made in my opinion , great acting , great writing , great movie , a modern day classic , highly recommended. |
| |
|
A Freak Occurrence |
If somebody pointed a gun at me and said,"You gotta have an opinion -about what the best movie of the 90s is" I'd tell them to point that gun away from my head before it accidently goes off. And then for lack of a better answer to this impossible question, I would answer PULP FICTION. In anycase, anyone crazy enough to point a gun at somebody while asking their opinion about what the best movie of the 90s is might not like other answers I might come up with as much.
I think it is the funniest movie I've seen that actually doesn't go in the comedy section at the video store. There are no flaws in it. It's perfect. Quentin Tarantino cannot ever top it and will probably never even come close. When he dies they will refer to him first and foremost as the director of PULP FICTION. His place in history as one of the great directors of cinema is secured with this film. |
| |
|
High Art that Makes the Mind itch in Places that can't be Scratched |
This supremely artistic vehicle designed obviously to showcase the many sides of Samuel L. Jackson's multidimensional talents, is a cinema-graphic triumph of a very high order.
Tarrintino has done it again: pulled off the impossible and the surreal and made it seem so imminently possible and real: This movie, more than any other, is truly a new metaphor of our hectic times. As is true with all of his work, the technical aspects of Tarrintino's work are so carefully worked out and put in place - the utter cleverness and darkness of the subtext, the casting, the scenery, the character development, the script, the writing, the directing, the brutal artistic honesty -- that the critic has no place to turn to "nitpick."
His art, as is the case with any truly good art, is "above critique:"
It just "IS." Period.
It's multi-sided vignettes are angular pegs that do not fit in any square holes, yet taken together, they add up to a whole much larger than the sum of their parts. Altogether the movie (or the book) shouldn't work, but the script and the writing are handled with such exquisite aesthetic balance and sensitivity that not only do they work, but in doing so, the movie sets a new standard of cinema-graphic possibilities: It is an aesthetic feast well ahead of its times; one that makes the mind itch in places that can't even be accessed, let alone be scratched.
This is the only movie I have watched twenty times and still see new things in it that speak to our hectic times. It does not come as a surprise, nor does it bother me that its primary appeal is worldwide, rather than domestic. It was especially an unexpected hit in Japan and Europe. Every actor in it should have won an academy award, especially Jackson, Travolta, Thurman and Willis. It is like a basketball team that wins the NCAA championship: It could not have been pulled off without all of the characters playing their respective parts and doing so at the highest level of their art. Amen.
Five stars |
| |
|
Classic Tarantino, Jackson and Travolta |
|
A great weave of 4 seemingly unrelated tales which artfully tie together during the movie. Timeline shifts seem confusing at first but pull together in the end. Another one for your collection. |
| |
|
|
|
