5. Pulp Fiction (1994)

Code-name: The Wolf
Writer/Director: Quentin Tarantino
Type: Dramedy, R-rated

Cast:
Vincent- John Travolta
Jules- Samuel L. Jackson
Mia Wallace- Uma Thurman
Pumpkin/Ringo- Tim Roth
Honey Bunny/Yolanda- Amanda Plummer
Butch- Bruce Willis
Marcellus- Ving Rhames
Captain Koons- Christopher Walken
Fabienne- Maria de Medeiros 
The Wolf- Harvey Keitel
Jimmie- Quentin Tarantino

Notable Awards and Nominations:
OSCAR- Best Original Screenplay- Quentin Tarantino
nomination-OSCAR- Best Picture
nomination-OSCAR- Best Lead Actor- John Travolta
nomination-OSCAR- Best Supporting Actor- Samuel L. Jackson
nomination-OSCAR- Best Supporting Actress- Uma Thurman
nomination-OSCAR- Best Director- Quentin Tarantino
nomination-OSCAR- Best Film Editing
Golden Globe- Best Screenplay- Quentin Tarantino
nomination- Golden Globe- Best Picture- Drama
nomination- Golden Globe- Best Director- Quentin Tarantino
nomination- Golden Globe- Best Actor- Drama- John Travolta
nomination- Golden Globe- Best Supporting Actor- Samuel L. Jackson
nomination- Golden Globe- Best Supporting Actress- Uma Thurman
Write-up:

Introductions
Once upon a time, this was one of those movies I flat-out refused to see for YEARS... all because of a single scene. In Health class (I believe it was 10th grade, my first year at that high school), we were discussing drugs and all that. We saw the one scene where Uma Thurman gets the shot of adrenaline to restart her heart.
...I hate needles. The scene freaked me out and my boycott began...
Then "Inglorious Basterds" came along. (Obviously I loved it or it wouldn't be my previous film on this countdown). I started to "widen my gaze" in 2011, watching all kinds of movies I wouldn't ordinarily look into... I had a lot of favorites from that year (Shawshank, SuckerPunch, and several others that made this list) and this was easily one of them.
My parents sat down and watched it with me and made sure I knew that the film would be out of sequence and a little hard to follow.
Knowing only that, and taking into account that the "adrenaline" scene would be a short one, I was pretty much set for success.

And what a success this wound up being.
The Film Itself

AMPLE SPOILERS AHEAD

Once or twice while watching the film this time around (probably my 3rd time), I was thinking how it feels more like a TV show more than a movie. Each chapter is like a different episode of a series since none of these occurrences feel as if they have anything in common. At least not to the eye of someone who prefers plot-driven films.

This movie is very character-driven, full of colorful personalities. My cast list includes the important names...
plus Christopher Walken, who is simply mentioned because he has one of those characteristic Christopher Walken-type moments. He appears in a flashback where he gives young Butch a watch that belonged to his father.
The movie overall is very trippy, but the details of this watch and how it came back from a POW camp... that's trippy to the nth degree. Only Tarantino could put something like that together.
It's a shame that this movie only earned one award for all its nominations, but the fact Tarantino was honored for his screenplay is a huge victory. It means that this up and coming, new and exciting writer/director made a good impression on a lot of important people.
This is one kick-ass script. The first scene ran a little slow for me until it kicked into action mode. Then as soon as Vincent started going on about what they call a quarter-pounder with cheese in France... I was sold. Most of these characters are gangsters and outlaw-types, so there is action involved, but to delay said action in favor of intelligent conversation, character development and social commentary... that's ballsy and the fact they pull it off effortlessly makes it a worthwhile risk.
I praised "Kiss Kiss Bang Bang" for this same reason--as well as several other movies I saw in 2011--but "Pulp Fiction" does one better. The storytelling is tighter, keeps us on our toes so the audience has no choice but to pay attention. Not to hate on the voiceover narration in KKBB (easily one of my favorite parts of it), but "Pulp Fiction" manages this utmost degree of cleverness without that such device.
Easily the trippiest aspect of this film is the fact it's shown out of order. We begin with the scene just before the stand-off finale between Jules, Yolanda and Ringo, where the British couple discuss the notion of robbery.
Interestingly, the first two scenes build up to an active climax and we immediately move onto the next chapter before finding out how things resolve. Real WTF moments that might make newbies scream at their TVs. But rest assured, everything does become clear after a while. We catch up with Yolanda and Ringo in the intense final sequence. Just before that, we see where Jules and Vincent go after regaining possession of Marcellus's suitcase.

If not to dispel the confusion, we stick through the rest of the film because these are some interesting characters. This is Samuel L. Jackson at, probably, his best. The first time a lot of people saw him as the notorious bad-ass everyone knows him to be now. He just has this amazing presence one can't help but respect. He gives us some of the biggest laughs in the movie. Just wait for a single pause or an unexpected raise in volume in his voice-- you know whatever comes out of his mouth is likely to be side-splitting hilarious.
John Travolta's best "chapter" is where he takes Marcellus's wife, Mia, out to show her a good time. He keeps up the commentary-laced dialogue he has with Jules, which is hard not to do, considering where the two of them have dinner. It's a retro 50's diner where the employees are all dressed as famous movie stars and singers from that era.
We get to see him dance for the first time since "Grease" and he gripes about Mia ordering a $5 shake and end ups [literally] swallowing his words.
The Gross-Out Factor
As great as that chapter is, the great chemistry between John Travolta and Uma Thurman (wig or not, I love that look for her), how it ends makes me cringe. And likely will every time I watch the movie, unless of course I get over my thing/phobia about needles and drugs.
Prior to Mia's overdose scene, we see Vincent buy some bad-ass drugs. Stuff that is so strong and powerful that you can only take it by needle. We see him take this needle, there's blood gathering in the syringe... :shudder: I gotta stop before I start seeing spots.
My only other criticism about the overdose scene... c'mon, in real life there is no way Vincent would have had enough time to save her. She'd be dead before getting her into the drug dealer's house.
There's a lot of violence, something to be expected from a Tarantino movie. Something that's a polarizing factor, but in that regard, "Inglorious Basterds" was a million times worse. The two anti-heroes we follow, Vincent and Jules, kill some people. The bloodiest scene happens in the back of their car. Two seconds after I stopped screaming, I was laughing my ass off for five minutes afterwards. Freaking hilarious!
Especially since, if you notice, Vincent's gun was held sideways. Before you can say "That's a kill shot!", we have an unplanned dead body in the backseat.

"The Bonnie Situation" is the name of this chapter. Tarantino has a cameo as Jimmie, a friend of theirs who [involuntary] lends them a place to discard their evidence. He only agrees to this if they clean things up before his wife Bonnie comes home.
So they enlist a figure known as The Wolf. We only see him in this chapter, but he is cool. He contains the situation, keeps it calm and tells everyone what they need to do. The gist is that he doesn't get his hands dirty. Simply tells the guys to clean up the back seat of the car.
...and for whatever reason, Jules gets stuck doing that and stages a protest as soon as he realizes it :P
Probably the weirdest, strangest part of the movie: "The Gold Watch" chapter.
Bruce Willis [amazing in this, by the way, and I'm not just talking about the shape his body is in] plays Butch, a prize fighter paid to throw a fight. Instead, he winds up accidentally killing the guy and needs to plan a clean getaway. His girlfriend, Fabienne [the scene-stealing Portuguese beauty Maria de Medeiros] forgot to pack the watch so he needs to go back to his apartment to get it. On the way back, he and Marcellus unexpectedly bump into each other and somehow pick the worst possible [in]convenience store to do fisticuffs.
Everything else in this movie, to me, is a cakewalk compared to the overdose-shot-of-adrenaline scene... but I imagine this sequence is what turned a lot of people off about this movie. For whatever reason, we turned this on [maybe a couple weeks after I first saw this] at my grandma's place and she and my sister accidentally ended up witnessing the infamous "basement" scene.
If there's one thing to know about Tarantino. you know nothing good can come out of a basement scene. At least that's my belief after seeing "Inglorious Basterds." There are subtle hints of S&M and a not-so-subtle rape scene initiated by Zed and the other dude who runs the store.
Thankfully, it's short-lived, Bruce Willis comes out being a hero and the sickos will get what's coming to them.

Final Comments

While I personally find "Inglorious Basterds" the more engaging film, "Pulp Fiction" wins out because it succeeds as a well-constructed whole. Granted, it's not a linear whole, but still very well done. To that effect, it might not have worked as well or gained this much attention if it had been shown in chronological order.

It's one of those quotable films I love, but certain quotes stuck with me that others might not immediately got. Aside from the "Royale with Cheese" and "$5 shake" dialogue, one quote I came away remembering:

Fabienne saying "any time of day is good for pie"
... don't know why, it just stuck with me. That and her talking about how she'd like to have a sexy pot-belly. It must be the accent.

Most people remember Jules's made-up version of Ezekiel 25:17.
My favorite quote of "The Bonnie Situation".
Jules to Vincent- "We just witnessed a miracle and I want you to acknowledge it!"

6. Inglorious Basterds (2009)

Code-name: Hugo Stiglitz
[cue guitar solo]

Writer/Director: Quentin Tarantino
Type: historical fiction, drama

Cast:
Lt. Aldo Raine- Brad Pitt
"The Jew Hunter" Col. Hans Landa- Christoph Waltz
Shoshanna- Melanie Laurent
Fredrick Zoller- Daniel Bruhl
Bridget Von Hammersmark- Diane Kruger
"The Bear Jew" Sgt. Donny Donowitz- Eli Roth
Lt. Archie Hicox- Michael Fassbender
Utivich- B.J. Novak
Hugo Stiglitz- Til Schweiger

Notable Awards and Nominations:
OSCAR- Best Supporting Actor- Christoph Waltz
nomination- OSCAR- Best Picture*
nomination- OSCAR- Best Original Screenplay- Quentin Tarantino*
nomination- OSCAR- Best Director- Quentin Tarantino*
nomination- OSCAR- Best Film Editing*
nomination- OSCAR- Best Sound Mixing*
nomination- OSCAR- Best Sound Editing*
nomination- OSCAR- Best Cinematography (lost to "Avatar")
Golden Globe- Best Supporting Actor- Christoph Waltz
nomination- Golden Globe- Best Picture- Drama (lost to "Avatar")
nomination- Golden Globe- Best Director- Quentin Tarantino (lost to "Avatar")
nomination- Golden Globe- Best Screenplay- Quentin Tarantino (lost to "Up in the Air")
nomination-Grammy- Best Compilation Soundtrack for Film or TV
*lost to "The Hurt Locker"

Write-up:
With the exception of next week's Tarantino movie, I guess you could file the rest of my countdown under gateway movies.

Gateway movie (n)- Films that introduced me to new people (either in acting, writing or directing) whose work I enjoyed so much, I couldn't help following up with their other projects

Case in point (per this entry): Quentin Tarantino

I really didn't know who he was before this movie, although I'd heard the name a few times.
Based on the premise, Brad Pitt taking on the Nazis in WWII [something that's already a very heavy topic], I gave it a shot and wound up getting much more than I bargained for.
And I mean that as an absolute compliment.You could easily judge my reaction and conclude this was my first Tarantino film because I had no idea what to expect. That his writing was wicked smart and more cutting edge than most dared to go.

It's funny... my dad and I saw this movie pretty much the same day from two completely different locations. I was in the comfort of our family room, he was chilling out in-flight in first class. Literally the day after I saw it on HBO or whatever, he emailed us and said he saw it in-flight.
Right away, it was clear it'd become another one of those movies we enjoy watching together (sometimes with other family members because it is just that good).
And it was also clear how much we loved to hate the film's villain.

FROM THIS POINT THIS SPOILERS WILL BE PROLIFIC

PLEASE BE ADVISED

The Villain
I'd never seen or heard of Christoph Waltz before this movie and, sadly, my dad and I might never see him as anything but Hans Landa. From the very first time he appears on screen, he has us eating out of his hands.

This isn't just your run-of-the-mill bad guy. He is COMPLEX. He takes his job very seriously, but not to the degree where he has a clichéd superiority complex. He's a gentleman, but at the same time, he does have his mean streak. Often times, he'll strike so quickly that his victims have zero reaction time.Probably the one thing that wins me over every time: he is extremely eloquent (in all FOUR languages he speaks, French, English, German and Italian). Just one of those great voices I enjoy listening to, but there's always that reminder in the back of my head that he is THE bad guy.I dare you to find a movie villain comeuppance THIS enjoyable... we're always cheering in the end when Aldo Raine gives him, you know, a little something he can never take off

The Heroes

The gripping first chapter of this five chapter story ends with Hans Landa and his comrades taking out a Jewish family that he rooted out of hiding.
The only member to survive, who he oddly enough lets escape, is the eldest daughter, Shoshanna.
We will catch up with her four years later where she's running a small cinema in France under the name Emmanuelle Mimieux. Chapter 2 introduces to our titular troop of Jewish American Nazi killers. They're led by Tennessee native Lt. Aldo Raine, a character Brad Pitt inexplicably disappears into. His opening monologue is as about as compelling as Hans Landa's, but he ups the ante with a wicked sense of humor.

Their initial goal is to kill and scalp as many Nazis as they can find. Those they leave alive to "send a message" to Hitler and his followers, they mark their foreheads with a swastika. But as the movie progresses, their efforts shift to something much bigger.... taking out the top officials of the Third Reich to end the war.
It just so happens that their plan, Operation Kino, crosses paths with something Shoshanna came up-- burning down the building on Nazi night, therein getting revenge for her family.

Story and Details
Ah, those details... the costumes and makeup are historically accurate, the set pieces are spot on and every detail included is so tangible, you can almost reach out and touch it with your five senses.
One prime example: Hans Landa orders strudel for Shoshanna at a fancy restaurant (this is an "interview" regarding her cinema prior to Nazi night...she knows who he is, but luckily, he has no idea about her) and the camera focuses on the food and how the cream is garnished on top. Can almost reach out and smell/taste it.

The movie night comes about when Joseph Goebbels (who was behind a lot of real-life Nazi propaganda) wants to have a screening for his new film: Nation's Pride.
It features the war exploits of sniper-turn-war hero Fredrick Zoller. He was stationed in a bell tower for three days where he took out 250+ people.

His original plan was to show it at the Ritz, but the venue changes when Fredrick falls in love with Shoshanna. Throughout Chapter 3 of the story, he meets her in front of her cinema and proceeds to stalk her until she agrees to host the movie at her place.

Admittedly, he is a very good looking man that you think it'd be hard to say "no" to... but given everything she and her family went through with the Nazis, it would be impossible for Shoshanna to return his feelings. Not to mention she's in a relationship with her projectionist, Marcel.

Not only does Shoshanna decide to commit arson with her own building, but she decides to make a film that'll intersect with "Nation's Pride" to develop one final message.

It's interesting to note throughout the film, when the spoken language suddenly changes (i.e. chapter 1: English to French, chapter 4: German to English), you know there will be blood.
The case is also true here. Up to this point, "Nation's Pride" was in German... then with Shoshanna's film, she spoke in English... very dramatic stuff that really changes the tone of the entire scene.

Tarantino is noted for his excessive body counts, but there were a couple of spots in this movie where I almost wish that wasn't the case.
Chapter 4 involves German actress Bridget Von Hammersmark meeting a couple of the Basterds to discuss Operation Kino. Much to Aldo's annoyance, the rendezvous takes place in a basement.
They had no idea there would be Nazis on premise (men given the night off to celebrate one becoming a father and a higher-ranked officer hiding in the shadows) and things wind up so badly, only two survive:

Bridget Von Hammersmark and the new father, Wilhelm.

All because Michael Fassbender (I had no idea it was him until this movie review because in 2009, nobody really knew him yet) blew his German by ordering three glasses




 instead of three glasses


and rumor is that Michael Fassbender encountered a lot of people who flashed him the "German three" as to not let him forget that.
So after all the bloodshed, Aldo Raine talks Wilhelm into lowing his weapons (as to not engage a Mexican standoff)... and Bridget Von Hammersmark, after being so nice to him and talking him into lowing his weapon, shoots him dead...
That was always such a WTF moment for me. Sure, he called her an "f$%&ing traitor" beforehand, but that still felt uncalled for.
Things also end darkly for Shoshanna and Fredrick Zoller. For a moment, I felt as if they could work things out, that she could learn to trust him, it can only end in them killing one another. Again, I can understand why because of their personalities, but it's gut-wrenching. Especially in the super slow motion with the sappy music in the background.

It appears that most of the music was taken from other sources, so there is no official "composer" for this movie.

My favorite contribution, hands down, opens the final chapter: Revenge of the Giant Face.
Featuring David Bowie's "Cat People (Putting Out Fire)"... it's the most current of all the music included in this movie, and you'd think it'd be out of place... it works amazingly well.
We own one of his albums, but it didn't have the same version as featured in the movie.
I guess I'll just have to dig through iTunes for it because it is pretty amazing.
Also part of the reason why I thought "Love is the drug" (featured in "Suckerpunch") was another David Bowie track because it reminded me so much of this.

One final note: as a fan of The Office, it was kinda cool to see B.J. Novak in this movie, even if he had a small role.
And Hugo Stiglitz, he got his own 3 minute introduction. He was a legendary Jew killer that got captured by the SS, who intended to make an example out of him, but later got sprung by the Basterds to join their ranks.

Coming Soon

My review for "The Judge" will be up momentarily.

Other than that, I have one another Tarantino movie to review...