#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Jules Winnfield (Samuel L. Jackson) and Vincent Vega (John Travolta) are two hit men who are out to retrieve a suitcase stolen from their employer, mob boss Marsellus Wallace (Ving Rhames). Wallace has also asked Vincent to take his wife Mia (Uma Thurman) out a few days later when Wallace himself will be out of town. Butch Coolidge (Bruce Willis) is an aging boxer who is paid by Wallace to lose his fight. The lives of these seemingly unrelated people are woven together comprising of a series of funny, bizarre and uncalled-for incidents.
Plot: A burger-loving hit man, his philosophical partner, a drug-addled gangster’s moll and a washed-up boxer converge in this sprawling, comedic crime caper. Their adventures unfurl in three stories that ingeniously trip back and forth in time.
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|8.9/10 Votes: 1,841,574|
|8.5 Votes: 20796 Popularity: 46.662|
***The cream of the crop of quirky crime thrillers***
RELEASED IN 1994 and written & directed by Quentin Tarantino, “Pulp Fiction” is a drama/thriller/black comedy about two hit men in Los Angeles (John Travolta and Samuel L. Jackson), their mob boss & his wife (Ving Rhames and Uma Thurman) and a champion boxer who incurs the wrath of the boss (Bruce Willis).
The lurid, droll tale is told in a non-linear fashion, but it’s easy to follow and the final act ties everything up nicely. The dialogue’s witty and the story maintains your attention, despite its 2 hour and 34 minutes runtime. The film’s stylish and pulsates with energy and innovation; it understandably influenced many 90’s films and beyond.
I put off seeing this iconic picture until almost twenty years after its release because the protagonists are all big city gangsters or somehow involved with ’em. These are lawless people who would kill a person without batting an eye. Their god is money or hedonism. Let ’em shoot each other to smithereens for all I care. But if you can look beyond this and the constant profanities, the film’s worth your time. What redeems it for me, besides the all-around entertaining movie-making, is that it’s a tale of redemption and the high price of stubborn folly: The wise person recognizes God’s grace and responds accordingly while the fool doesn’t and blithely goes on his (doomed) way. Once a person receives grace they naturally extend it to others. There are additional gems spiced throughout.
Both Travolta and Jackson shine here. There are several other celebrities on hand, like Harvey Keitel, with many in cameos, e.g. Christopher Walken; not to mention several formidable females, like curvy Julia Sweeney (Raquel), cutie Maria de Medeiros (Fabienne), Angela Jones (Esmarelda) and voluptuous Susan Griffiths (Marilyn Monroe).
BOTTOM LINE: If you’re in the mood for a quirky crime drama/thriller you can’t go wrong with “Pulp Fiction.” It’s top-of-the-line in every way, including the subtext.
THE FILM WAS SHOT in the Greater Los Angeles area. ADDITIONAL WRITER: Roger Avary.
One of the bests(if not the best) Tarantino’s movies!
The masterpiece without a message
One of the early scenes in “Pulp Fiction” features two hit-men discussing what a Big Mac is called in other countries. Their dialogue is witty and entertaining, and it’s also disarming, because it makes these two thugs seem all too normal. If you didn’t know better, you might assume these were regular guys having chit-chat on their way to work. Other than the comic payoff at the end of the scene, in which they use parts of this conversation to taunt their victims, their talk has no relevance to anything in the film, or to anything else, for that matter. Yet without such scenes, “Pulp Fiction” wouldn’t be “Pulp Fiction.” I get the sense that Tarantino put into the film whatever struck his fancy, and somehow the final product is not only coherent but wonderfully textured.
It’s no wonder that fans spend so much time debating what was in the suitcase, reading far more into the story than Tarantino probably intended. The film is so intricately structured, with so many astonishing details, many of which you won’t pick up on the first viewing, that it seems to cry out for some deeper explanation. But there is no deeper explanation. “Pulp Fiction,” is, as the title indicates, purely an exercise in technique and style, albeit a brilliant and layered one. Containing numerous references to other films, it is like a great work of abstract art, or “art about art.” It has all the characteristics we associate with great movies: fine writing, first-rate acting, unforgettable characters, and one of the most well-constructed narratives I’ve ever seen in a film. But to what end? The self-contained story does not seem to have bearing on anything but itself.
The movie becomes a bit easier to understand once you realize that it’s essentially a black comedy dressed up as a crime drama. Each of the three main story threads begins with a situation that could easily form the subplot of any standard gangster movie. But something always goes wrong, some small unexpected accident that causes the whole situation to come tumbling down, leading the increasingly desperate characters to absurd measures. Tarantino’s originality stems from his ability to focus on small details and follow them where they lead, even if they move the story away from conventional plot developments.
Perhaps no screenplay has ever found a better use for digressions. Indeed, the whole film seems to consist of digressions. No character ever says anything in a simple, straightforward manner. Jules could have simply told Yolanda, “Be cool and no one’s going to get hurt,” which is just the type of line you’d find in a generic, run-of-the-mill action flick. Instead, he goes off on a tangent about what Fonzie is like. Tarantino savors every word of his characters, finding a potential wisecrack in every statement and infusing the dialogue with clever pop culture references. But the lines aren’t just witty; they are full of intelligent observations about human behavior. Think of Mia’s statement to Vincent, “That’s when you know you’ve found somebody special: when you can just shut the f— up for a minute and comfortably enjoy the silence.”
What is the movie’s purpose exactly? I’m not sure, but it does deal a lot with the theme of power. Marsellus is the sort of character who looms over the entire film while being invisible most of the time. The whole point of the big date sequence, which happens to be my favorite section of the film, is the power that Marsellus has over his men without even being present. This power is what gets Vincent to act in ways you would not ordinarily expect from a dumb, stoned gangster faced with an attractive woman whose husband has gone away. The power theme also helps explain one of the more controversial aspects of the film, its liberal use of the N-word. In this film, the word isn’t just used as an epithet to describe blacks: Jules, for instance, at one point applies the term to Vincent. It has more to do with power than with race. The powerful characters utter the word to express their dominance over weaker characters. Most of these gangsters are not racist in practice. Indeed, they are intermingled racially, and have achieved a level of equality that surpasses the habits of many law-abiding citizens in our society. They resort to racial epithets because it’s a patter that establishes their separateness from the non-criminal world.
There’s a nice moral progression to the stories. We presume that Vincent hesitates to sleep with Mia out of fear rather than loyalty. Later, Butch’s act of heroism could be motivated by honor, but we’re never sure. The film ends, however, with Jules making a clear moral choice. Thus, the movie seems to be exploring whether violent outlaws can act other than for self-preservation.
Still, it’s hard to find much of a larger meaning tying together these eccentric set of stories. None of the stories are really “about” anything. They certainly are not about hit-men pontificating about burgers. Nor is the film really a satire or a farce, although it contains elements of both. At times, it feels like a tale that didn’t need to be told, but for whatever reason this movie tells it and does a better job than most films of its kind, or of any other kind.
The rebirth of a genre – and film history
I can only speak for myself, but I had never seen anything as stylish, cleverly constructed, well written and electrifying as this milestone when I first saw it in 1994. What really pulled me in right from the start is 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 grabs 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 most of those pieces of music are now immediately associated with ‘Pulp Fiction’. And the narrative: the different story lines that come together, the elegantly used flashbacks, the use of “chapters” – there is so much playful creativity at play here, it’s just a pure joy to watch.
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, of course, dozens of hyper-stylized Asian gangster flicks), but to those accusing Tarantino of copying or even “stealing” from other film-makers I can only say: There has never been an artist who adored his kind of art that was NOT inspired or influenced by his favorite artists. And if you watch Tarantino’s masterpiece today, 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.
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Original Language en
Runtime 2 hr 34 min (154 min), 2 hr 58 min (178 min) (original cut)
Genre Crime, Drama
Director Quentin Tarantino
Writer Quentin Tarantino (stories), Roger Avary (stories), Quentin Tarantino
Actors Tim Roth, Amanda Plummer, Laura Lovelace, John Travolta
Awards Won 1 Oscar. Another 69 wins & 75 nominations.
Production Company Miramax Films, A Band Apart, Jersey Films
Sound Mix Dolby Digital
Aspect Ratio 2.39 : 1
Camera Arriflex 35-III, Panavision C- and E-Series Lenses, Panavision Panaflex Gold II, Panavision C- and E-Series Lenses, Panavision Panaflex Lightweight, Panavision C- and E-Series Lenses, Panavision Panaflex Platinum, Panavision C- and E-Series Lenses
Laboratory DeLuxe, Hollywood (CA), USA (color)
Film Length 4,229 m (Sweden)
Negative Format 35 mm (Eastman EXR 50D 5245)
Cinematographic Process Panavision (anamorphic)
Printed Film Format DCP, 35 mm