This is a healthy, productive and scandalous magazine that treats its audience with a smart flirty language.
Tarantino’s career defining project is raw and honest. And maybe that’s why it holds a place in one of those rare milestones that can and does hold up against time. But writer-director Quentin Tarantino has honed his thrills for the romance of conversation in a much more absorbing humoriste language than his previous case. And this is what’s been updated and stayed with him over the years. Good conventional themes that spirals out into unexpected quirky crime scenes instead of the other way around. And those jokes aren’t just some filling. It is their to nourish human behavior. The telltales threads these various incidents into one film where either it grows itself into a character or pitches itself as their philosophy or introduction.
He took a neo-noir genre and smashed it on screen with the ultimate question. Question being, What’s the morbid fascination over the outlaws of the society residing between common people persisting to enact like one and engage in one? Now you see what Tarantino has done with his masterpiece. He took two extreme ends of a situation and blends it in, evolutionizing a pulp treat whose purity is unfiltered and is highly valuable in the market. Selling that product officially are two hitmen Samuel L. Jackson and John Travolta.
With his over-the-top confidence and sassy dominating persona on screen, Jackson might be giving his life’s best work but personally I put my chips on Travolta’s groovy twist. I grew up watching Saturday Night Live and Greece, his understated situational physical comic timing beams me back into a 4 year old kid; Warmer! Warmer! DISCO! And some of his best moments in Pulp Fiction is with Uma Thurman whose dance under the influence of Neil Diamond’s Girl You’ll Be A Woman Soon is an apt description of this vanity kingdom.