Jackie Brown

Wanna fuck? So far, the only film where Quentin not only excels in the script and it’s execution, but also in the development of the characters and their approach to the “normal” viewer. Jackie Brown doesn’t deliver the cinephile panache of Pulp Fiction and Kill Bill, but it’s written with heart and directed with indescribable wit and timing, and in terms of entertainment and viewer satisfaction, it’s on par with the aforementioned titles. Grier and Forster a great duo, the stoned De Niro and the extravagant nigga Jackson are an inimitable duo, and the scene where they pass on the money is a text-book example of how to use communicativeness for the benefit of several crescendos and the joy of the gradual reveal of the tale. This notch confirms Tarantino’s dominance over the 1990s, period. (28/03/2019)

An impressive un-Tarantino-like Tarantino movie. Exceptional acting performances (Samuel L. Jackson was even cooler than he is normally ;) and a talent for storytelling make Jackie an excellent watch. Perhaps not achieving the same quality as Reservoir Dogs or Pulp Fiction, but still extremely high standard. (25/11/2007)

I’ve always heard that Jackie Brown was the different and weaker Tarantino film. After finally watching it, I have to say that I can’t agree with that statement. It’s not such an atypical Tarantino, it’s a heist movie with dialogues full of one-liners (though less sharp than in Pulp Fiction or Kill Bill 2), a forgotten black star and Samuel L. Jackson in the main roles, drugs, profanity, unexpected murders – is that really atypical for Tarantino? No way. The biggest difference is that, compared to the rest of Quentin’s filmography, Jackie Brown is relatively restrained, which is due to the genre. And is it his weakest film? I don’t know, he doesn’t make bad films, and from the better ones it’s hard to pick one that would clearly beat the rest. (12/09/2010)

Quentin simply knows what he’s doing and that probably hasn’t changed. Another example of great filmmaking done in a way that is completely original and simply "Tarantino-esque". A great cast, a perfect soundtrack, the same scene repeated from different perspectives and yet not boring, Tarantino-esque "cool dialogue"... It may not be a second Pulp Fiction, but it's a very successful Across 110th Street!!! (26/03/2009)

From the perspective of film values ​​that are important to me, Jackie Brown represents a true peak of Tarantino's films. After that, an unstoppable decline followed, and truth be told, the quality of his films plummeted like a fighter jet hit by a missile. This is not a cheap flashy film and will probably disappoint fans of wild action and violence complemented by bizarre humor and shocking lines. It is a moderate film, which, despite the genre framework of a classic crime story, focuses primarily on human relationships. It is a strong love story of two aging individuals who may have their last chance to start over and do better. Tarantino slowly and patiently builds up the film's atmosphere until its suspenseful finale. He pays attention to the dialogues, and where necessary "cool" catchphrases are present, but to a reasonable extent and where the script requires it. These characters can be trusted. It is Tarantino's most mature film with several interesting performances and perhaps his boldest, as it represents a betrayal of the traditional fan community. It is no coincidence that he came up with this film after his famous Oscar-winning masterpiece, Pulp Fiction when he felt that even such a leap would be handled by his audience. Overall impression: 90%. (23/06/2006)