Pulp Fiction

PULP FICTION
1994 | Dir. Quentin Tarantino | 154 Minutes

"Whether or not what we experienced was an 'according to Hoyle' miracle is insignificant. What is significant is that I felt the touch of God. God got involved."


A gangster is tasked with entertaining his employer's wife for an evening and the already-awkward situation takes a wildly unexpected turn. A boxer on the run from the crime boss he double-crossed makes a dangerous detour to retrieve a precious family heirloom. A cold-blooded killer receives an unlikely wake-up call inspiring him to change his ways but he must endure a set of precarious trials before he can formally resign.

Funnier than the standard crime drama and gorier than the average comedy, Pulp Fiction presents a set of stories that feature charismatic scoundrels in bizarre situations set in a world that feels ever-so-slightly warped. The interconnected vignettes are an ode to the trashy stories found in cheap magazines and paperbacks, though the prominent themes of honor, pride, and redemption that run through each segment elevates the film above its often disreputable and disposable inspirations.

As each tale unfolds, an off-beat form of karma is visited upon the lead characters. The universe seemingly solves Vincent's dilemma in dealing with his inconvenient attraction to Mia by literally stopping her heart. Butch's pride leads him to betray Marsellus but also unexpectedly set him on a collision course with the crime boss under highly unlikely circumstances, and he is only afforded a new lease on life after he consciously decides to rescue Marsellus from a ghastly fate. Jules's newfound enlightenment comes at a cost, as if the universe demands retribution for his past misdeeds, forcing him to personally clean up the bloody aftermath of a truly random act of violence before presenting him with the option to spare a life in exchange for his chance to restart his own life on his on terms.

Filmed and edited with a manic energy that's often imitated but seldom matched, Pulp Fiction is perfectly paced and visually gratifying. Jules reciting his favorite Bible passage before unloading on the terrified Brett, Mia and Vincent dancing at the kitschy old Hollywood theme restaurant, Vincent plunging a syringe full of adrenaline into Mia's chest, and a bloodied Butch brandishing a katana to literally save Marsellus's ass are just a handful of the film's memorable sequences, each one rich with style and character, successful in eliciting a plethora of different emotions by perfectly striking wildly varying tones without devolving into dissonant noise.

John Travolta plays Vincent with the prefect blend of obnoxious arrogance thinly layered over authentic vulnerability, sharing remarkably natural camaraderie with Samuel L. Jackson's Jules, and a playful infectious chemistry with Uma Thurman's Mia. Jules is hands down Samuel L. Jackson's most iconic role, so wonderful as the intimidating force to be reckoned with striving to be a better man at the end. As free spirit Mia, Thurman is sharp, alluring, and frank, exuding a sort of relentless honesty. Bruce Willis does what he does best as the prideful Butch, maintaining tough guy bravado even as he's beaten down. The film also features memorable performances from Tim Roth and Amanda Plummer as a pair of robbers, Ving Rhames as Marsellus Wallace, Eric Stoltz as disheveled drug dealer Lance, Christopher Walken as Captain Koons, Maria de Medeiros as the adorable Fabienne, Harvey Keitel as hyper-efficient fixer Winston Wolfe, and Phil LaMarr as the shockingly unlucky Marvin.

Gruesome, hilarious, suspenseful, and absolutely engaging, Pulp Fiction is immensely entertaining through and through. Featuring a brilliant script that's tonally eclectic but never jarring, endlessly quotable dialogue, and a sensational cast delivering some of their very best work, Quentin Tarantino's second film is cinematic lightning in a bottle.


THE STORY BEHIND THE TITLE
From 1896 to the late 1950s, magazines printed on cheap paper made from wood pulp featured often poorly written, typically schlockly short stories collectively referred to as "pulp fiction."


QUENTIN TARANTINO AS...
- Jimmie, Jules's irate friend whose suburban home temporary becomes a corpse disposal workshop


RED APPLE CIGARETTES
- The brand of choice for the restaurant robbers, Mia, and Butch


FOOT STUFF
- Jules and Vincent have a lengthy discussion over the intimate quality or lack thereof in giving a woman a foot massage due to a rumor that Marsellus crippled a man in a jealous rage for touching his wife's feet, a rumor that Mia quickly dispels

- Esmarelda the cab driver does not wear shoes


CASTRATION WITH A BANG
- Marsellus blows away Zed's junk with a decisive shotgun blast


NOTABLE NEEDLE DROPS
- Dick Dale's rendition of "Miserlou" featured in the opening title sequence has since become synonymous with Pulp Fiction

- Mia and Vincent dancing the twist to Chuck Berry's "You Never Can Tell" is simply delightful

- Urge Overkill's rocking cover of "Girl, You'll Be a Woman Soon" effectively adds an extra layer of intensity as Mia overdoses on Vincent's heroin in her living room while he unpacks his moral dilemma with his bathroom mirror reflection

- The Stalter Brothers' "Flowers on the Wall" is the perfect ironic earworm for Butch's moment of short-lived relief before his fateful encounter with Marsellus, a scene in which levity turns into sheer panic within a matter of seconds

- The Centurions' "Bullwinkle Part II" featured in the sequence of Vincent shooting up and getting high before meeting Mia, and The Lively Ones' "Surf Rider" that closes out the film go a long way in grounding the film in its Los Angeles setting


FRAGMENTS
- According to Tarantino, Vincent Vega and Mr. Blonde (Vic Vega) from Reservoir Dogs are brothers

- The contents of the briefcase Marsellus sent Jules and Vincent to retrieve is one of the most on-the-nose textbook examples of a MacGuffin, an item in a fictional story that only serves as plot device

- The Ezekiel 25:17 Bible quote as it is recited in the film is mostly made up

- The team in failed television pilot Fox Force Five as described by Mia bears a striking resemblance to The Deadly Viper Assassination Squad from Kill Bill

- The Clutch Cargo cartoon that little Butch watches on TV looks terrible


SUPPLEMENTAL STUFF
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Reservoir Dogs

RESERVOIR DOGS
1992 | Dir. Quentin Tarantino | 99 Minutes

"The things you gotta remember are the details. It's the details that sell your story."


Loyalties are questioned and accusations are leveled when a carefully coordinated jewelry store robbery carried out by six unrelated strangers goes horribly, spectacularly wrong.

Writer/director Quentin Tarantino's first feature-length film is an entertaining crime story that revels in misdirection and subverting expectations. The heist at the center of Reservoir Dogs is never depicted on screen. Instead, the picture exclusively focuses its attention on a series of fascinating character moments alternating between the inconsequential humorous banter among a crew of miscreants leading up to the crime, and the respective ways the robbers deal with the aftermath of a job gone awry. While most of the crooks featured in the story are far from endearing, they become at the very least engrossing characters as the exceptionally composed dialogue grounds their behavior and central motivations, affording the audience a glimpse into their inner lives.

Reservoir Dogs is a showcase of superb camera moves and slick editing. The one-take shot that follows Mr. Blonde as he steps out of the building to retrieve a gas canister halfway through his frighteningly casual torture session is remarkably crafty. In the same torture scene, the camera deliberately pans away from the film's most gruesome act of violence, leaving the audience to fill in the excruciating blank. The sequence in which Mr. Orange rehearses his phony anecdote until a fully dramatized version of the scene plays out is surreal and sublime.

Harvey Keitel delivers a thoughtful and appropriately personable performance as crook with a heart of gold Mr. White, and is alternately outright harrowing when the picture reaches its bloody climax. As Mr. Orange, Tim Roth's character spends most of the film bleeding out on the floor, but his vulnerability is convincing and all the more heartbreaking when the story reaches his flashback sequence. Always a pleasure to watch, Steve Buscemi does manic pessimistic misanthrope like no one else and Mr. Pink is one of his quintessential roles. As the eerily calm psychotic career criminal Mr. Blonde, Michael Madsen is, perhaps unfortunately, the coolest he'll ever be as featured in this movie. The film also features Lawrence Tierney as the amusingly blunt Thing-lookalike crime boss Joe Cabot, Chris Penn as his jovial son Nice Guy Eddie, Kirk Baltz as doomed cop Marvin Nash, Randy Brooks as Mr. Orange's savvy confidant Holdaway, and comedian Steven Wright supplying a hilariously dull voice for 70s radio station DJ K-Billy.

Reservoir Dogs is a well-acted, tightly-paced, meticulously-constructed little film. The heist movie in which the robbery is the least important part of the narrative is a remarkably strong directorial debut for Quentin Tarantino, putting on full display his talent for crafting memorable characters, amusing banter, and palpable tension.


 THE STORY BEHIND THE TITLE
A possibly apocryphal account suggests that Tarantino came up with the title while working at Manhattan Beach movie rental store Video Archives when he recommended Louis Malle's 1987 film Au Revoir les Enfants to a customer who turned it down saying "I don't want to see no reservoir dogs!"


QUENTIN TARANTINO AS...
- Mr. Brown, who dies shortly after fleeing the scene of the crime


NOTABLE NEEDLE DROPS
- The opening title sequence set to Dutch group George Baker Selection's "Little Green Bag" as the core cast marches through a parking lot is instantly iconic

- The Stealers Wheel hit "Stuck in the Middle with You" will forever be associated with ear mutilation

- Harry Nilsson's novelty song "Coconut" is a decidedly dissonant end credits song considering the film's rather grim finale


FRAGMENTS
- Reservoir Dogs shares notable plot similarities with Hong Kong director Ringo Lam's 1987 undercover cop movie City on Fire; a 1995 short film assembled by a Michigan film student entitled Who Do You Think You're Fooling? accentuates these similarities by cutting together clips from both films

- According to Tarantino, Mr. Blonde (aka Vic Vega) and Vincent Vega from Pulp Fiction are brothers

- Edward Bunker, who appears very briefly as Mr. Blue, was a real life career criminal


007 CONNECTIONS
- Michael Madsen (Damian Falco in Die Another Day)


MCU CONNECTIONS
- Tim Roth (Emil Blonsky in The Incredible Hulk)
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Bloody as Hell with a Five-Dollar Shake: The Films of Quentin Tarantino

"This is the work of a salty dog. You can tell by the cleanliness of the carnage. Now a kill-crazy rampage though it may be, all the colors are kept within the lines."


Eccentric-cinephile-turned-celebrated-director Quentin Tarantino channels all of his love for cinema into his work, especially his adoration for disreputable genre pictures. Tarantino is often criticized for referencing and replicating the movies that inspire his films, yet his work in turn ultimately inspired an entire generation of filmmakers to unabashedly embrace their personal cinematic passions and obsessions for better or worse.

Watching any given Tarantino film, audiences may always expect to be subjected to unconventional story structure, wickedly sharp dialogue, delightful needle drops, hyper-stylized violence and, above all, a bloody good time. Thematically, Tarantino's films have evolved from elaborate crime dramas to explorations of historical subjects through a fervently embellished lens so fantastical as to entertain the notion that cinema can literally change history itself.

Vowing not to overstay his welcome and quit while he's ahead, Tarantino often claimed that he would retire after completing ten features. However, the mad auteur's ninth film may very well be his last.
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Spider-Man: Far From Home

SPIDER-MAN: FAR FROM HOME
2019 | Dir. Jon Watts | 129 Minutes

"People need to believe, and nowadays they'll believe anything."


Nick Fury recruits Peter Parker to take part in a secret mission assisting an otherworldly stranger in his fight against an incredible threat, disrupting Peter's school trip touring Europe. Still grieving over the recent loss of his beloved mentor, Peter is reluctant to answer the call to action as he juggles his duo-identity as unassuming high school student and famous masked hero.

Taking on the unenviable task of following Avengers: Endgame and closing out a decade of Marvel Studios productions, on top of delivering a satisfying sequel to his well-received Spider-Man reboot, Jon Watts returns to the direct and hits it right out of the park. Spider-Man: Far From Home balances mildly raunchy teen comedy and high-flying superhero action while exploring hefty themes with skill and style. This sequel is centered around the inherent challenges of carrying on the legacy of the departed and the dubious veracity of information during uncertain times.

Taking a page from the very best Spider-Man stories, Peter Parker struggles with embracing the responsibility of being a hero, this time with the added pressure of having to fill the void left in Tony Stark's absence. Until the final act of the story, Peter dodges the public expectation for him to be the next Iron Man, much to the chagrin of an impatient Fury. Peter even concedes the role much too quickly when he makes his biggest mistake yet. Having shared with Peter the grief over losing Tony, a decidedly more sympathetic Happy Hogan helps Peter realize that no one expects him to be infallible because Tony certainly wasn't. However, it becomes apparent that many still bear a grudge against Tony for his fallibility.

Posthumously bringing the story of Tony Stark full circle, the primary antagonists of the picture are revealed to be disgruntled Stark Industries ex-employees, eager to fabricate and install their own hero to take Tony's place. In the aftermath of the cataclysmic and unpredictable events of Avengers: Infinity War and the years that followed, this band of purportedly downtrodden engineers take advantage of the seemingly constant state of widespread panic to construct a crisis and a champion that the vulnerable public is conditioned to accept. On top of the villains' sinister plot of false narratives and manufactured catastrophes, the script is full of jibes questioning the accuracy of online reports and broadcast news. Brilliantly fitting, the evil ringleader's final attack is the weaponized deployment of doctored video footage, more harmful than a physical attack against the hero.

The picture is one of the better looking Marvel Studios films, making good use of location shooting in Venice, Prague, and London. The visual effects behind several waking nightmare sequences during the back half of the film are magnificent, comparable and even besting some of the wilder, more surreal sequences from Doctor Strange. Michael Giacchino's musical score is some of his best work for Marvel Studios yet, further developing on his Spider-Man theme from Spider-Man: Homecoming as well as contributing an appropriately bombastic theme for Mysterio.

It's not difficult to make the case that Tom Holland is the best live-action Spider-Man. It helps that Marvel Studios' writers continue to provide him with inspiring material, with it he is able to showcase a broad and nuanced range of emotion, selling the physical comedy with panache and really delivering the touching moments when Peter is at his most helpless. Jake Gyllenhaal is an absolute pleasure playing the selfless would-be mentor-figure Quentin Beck, and he's even better after the fateful mid-point of the picture. As M.J., Zendaya's chemistry with Tom Holland is palpably adorkable, and she has some of the best lines accentuated by her natural delivery for dry humor.

The supporting cast features Jacob Batalon, Angourie Rice, and Tony Revolori reprising their roles as Peter's classmates Ned, Betty, and Flash, each with their fair share of funny moments. Martin Starr is joined by J.B. Smoove portraying Peter's bumbling amusingly clueless schoolteachers. Jon Favreau and Marisa Tomei appear briefly as Happy and Aunt May, sharing a budding romance that makes Peter hilariously uncomfortable. Samuel L. Jackson is reliably cool in his eleventh appearance as Fury, once again alongside Colbie Smulders as Fury's trusty confidant Maria Hill who is afforded her first truly awesome action beat since Captain America: The Winter Soldier. Remi Hii delivers a believable performance as Peter's insufferable square-jawed romantic rival.

With an excellent cast, affecting light-hearted comedy, and some truly spectacular visuals, Spider-Man: Far From Home is a worthy second installment in the Tom Holland Spider-Man film series, and a fitting coda for Marvel Studios' Infinity Saga. Clearly produced with as much love, style, and appreciation for the spirit of the source material as Spider-Man: Homecoming, the scope and spectacle is on a larger, much more impressive scale this time around.


MID-CREDITS STINGER
A breaking news report sourced from media personality and conspiracy nut J. Jonah Jameson broadcasts Quentin Beck's dying message to the world: doctored video footage framing Spider-Man for his crimes coupled with the revelation that Peter Parker is Spider-Man.


POST-CREDITS STINGER
Nick Fury and Maria Hill are revealed to be the Skrulls Talos and Soren in disguise. The couple notifies the real Nick Fury that they delivered Tony's glasses to Peter. Meanwhile, Fury directs a Skrull crew in a massive space station.


FRAGMENTS
- Jake Gyllenhaal was once briefly in the running to replace Tobey Maguire as Peter Parker in director Sam Raimi's Spider-Man 2

 - The return of Iron Man executive producer Peter Billingsley as erstwhile Stark Industries scientist William, famously on the receiving end of Obadiah Stane's classic "Tony Stark was able to build this in a cave! With a box of scraps!" outburst, might be my favorite unexpected MCU callback so far

- Composer Michael Giacchino references Alan Silvestri's theme for The Avengers in two key scenes

- Happy cuing up AC/DC's "Back In Black" as Peter uses Tony's tools to create a new Spider-Man suit (and Peter misidentifying the song as a Led Zeppelin tune) is also a nice callback for MCU true believers

- J.K. Simmons reprises the role of J. Jonah Jameson, having previously appeared as the most vocal Spider-Man hater in the multiverse in Sam Raimi's Spider-Man film trilogy, and I couldn't be happier; he is the undisputed definitive J.J. Jameson after all


SUPPLEMENTAL STUFF
- Video: Donovan Mitchell (ESPN Spot)
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Toy Story 4

TOY STORY 4
2019 | Dir. Josh Cooley | 100 Minutes

"He's not lost, not anymore."


During a family road trip, Woody embarks on a perilous mission to rescue Bonnie's new favorite toy and encounters an old friend experiencing life beyond his inherent sense of unwavering duty.

Full of heart and thematically rich, Toy Story 4 maintains the high storytelling standard set by the previous Toy Story films. Instead of manufacturing a rudimentary retread, the filmmakers crafted a sobering, though still exceptionally amusing, re-examination of the series' core themes of loyalty, the value of being loved, and the inevitable limits of unconditional love. While Toy Story 3 is a tale of rediscovering love, and accepting its ephemeral nature, the central narrative of Toy Story 4 is concerned with realizing and embracing personal value and agency over seeking validation from love. This deeply emotional journey is taken by stalwart series protagonist Woody.

The twitchy kindergarten craft creation Forky overcomes his urge to return to trash and accepts his importance to Bonnie as her favorite toy when Woody recounts his positive experiences with Andy. Antagonist pull-string doll Gabby Gabby, dedicating her existence to woo one specific child at the expense of anyone who gets in her way, attains a more enlightened perspective when she learns by Woody's example to offer her love to any child in need of it. Having completely let go of the need to be owned and loved by a child, Bo re-enters Woody's life as a self-assured heroic figure, thriving in her status as a lost toy, eager to explore the open world before her, presenting her favorite cowboy with a new and exciting life he had never considered before.

Tom Hanks turns in his finest voice work to date, playing Woody a little warier and a little less excitable. The patient dignified resignation in Hanks' interactions with Tony Hale's manic and naive Forky run in stark contrast to the constant antagonistic frustration prevalent in the early stages of Woody's relationship with Buzz. Treading the line between sweet and sinister, Christina Hendricks is perfect as Gabby Gabby, domineering, menacing, manipulative, vulnerable, and sympathetic all at once. Finally given a true role in the overarching narrative, Annie Potts is an absolute joy as the radically transformed Bo. Subtle choices in Potts' line delivery go a long way to suggest the porcelain figurine has been through a lot over the years so as it's not so hard to believe she is now more action star than love interest.

The movie is also incredibly funny thanks to some sharp writing and its fun cast. A running gag with Tim Allen's Buzz Lightyear literally taking guidance from his inner voice by repeated pushing his own buttons is hysterical. Acclaimed comedy duo Keegan-Michael Key and Jordan Peele are an inspired addition to the cast playing a pair of delusional stuffed animals. With a thematically appropriate (mildly) tragic backstory, Canadian stuntman toy Duke Caboom voiced by Keanu Reeves unequivocally steals the show.

Needless to say, the film is yet another unparalleled visual masterpiece from Pixar's animation geniuses. Despite its relatively smaller scope when compared to other films in the series, the primary antique store and fair grounds locations are full of life and meticulous artistry down to the most minuscule of details. Bo showing Woody her favorite place in the antique shop atop a high shelf with a clear view of the light refracting off all the chandeliers in the room is just one of the many standout moments.

Toy Story 4 is as entertaining and emotionally moving as one can expect from Pixar's top-tier productions. The unexpected magic of this sequel is in how naturally it resumes a journey that had seemingly reached the end of its cycle but, in retrospect, would feel incomplete without this installment. It is essential viewing for fans of the series, fans of the Pixar's brand of high quality animation, and anyone with an appreciation for good storytelling.


POST-CREDITS STINGER
Duke Caboom strikes several poses with the Pixar Animation Studios logo and delivers a long-awaited high-five


JOHN RATZENBERGER AS...
- Hamm the tech-savvy piggy bank


A113
- A vintage 1970s style A113 sign appears in the antique shop


PIXAR INTERCONNECTIVITY
- Numerous items featured in the antique shop reference various Pixar feature films and animated shorts including Tinny from Tin Toy, an Ernesto de la Cruz vinyl record (Coco), a Super 8 copy of Lifted, and a handkerchief with Wally B. stitched into it (Andre and Wally B.) among many others

- Bo's sheep discover the grape soda bottle cap from Up in the playground

- The Pizza Planet truck is tattooed on back of the carnival worker's leg


FRAGMENTS
- Incidentally, another film featuring a malicious child's doll, a remake of Child's Play, premiered the same week as this film

- Another film featuring an even creepier sentient doll, Annabelle Comes Home, premiered the following week

- Series regular Don Rickles passed away while the film was in pre-production; his dialogue for Mr. Potato Head was constructed using archival recordings with permission from his family

- Comedy legends Mel Brooks Carol Burnett, Betty White, and Carl Reiner provide the voices for Bonnie's old and forgotten baby toys residing in her closet

- Keanu Reeves' voice was previously featured with Key and Peele in the action comedy Keanu


SUPPLEMENTAL STUFF
- Video: Toy Story 4 "Teaser Trailer Reaction"


007 CONNECTIONS
- Timothy Dalton (James Bond in The Living Daylights and Licence to Kill)
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