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Tag: Pulp Fiction (1-6 of 6)

'Pulp Fiction' spawn: The best and worst of the Tarantino clones that followed

When Pulp Fiction opened in theaters 20 years ago today, the mainstream moviegoing audience was introduced to a dynamic new Hollywood talent. Quentin Tarantino was a 31-year-old hipster whose formal film education never rose much higher than working as a clerk in a Manhattan Beach video store. A walking encyclopedia of film history who fetishized some of the more obscure genres, Tarantino had a gift for dialog and his own visual toolbox that expanded the language of cinematic storytelling. Pulp Fiction was the culmination of a two-year stretch where the director went from Nobody to Wunderkind, beginning with the Sundance premiere of Reservoir Dogs in 1992. That splashy debut established Tarantino’s bonafides with actors, critics, and insiders, and the idea of John Travolta dropping by his house to play board games and talk shop suddenly became feasible. His scripts for True Romance and Natural Born Killers made it to the screen—though not in the form he envisioned—but for a guy who most Americans still didn’t know, he had already earned an artistic reputation: He was cool.

Pulp Fiction was the culmination of all that creative build-up and industry goodwill. Tarantino attracted an amazing ensemble cast, one that looks even better in hindsight, in part because of what Pulp did for each of their respective careers, from Samuel L. Jackson to John Travolta to Uma Thurman. The film premiered at Cannes in the spring and was pronounced an instant classic. So even before it opened on Oct. 14 to win the weekend box office, Hollywood executives were barking into phones, “Get me the next Pulp Fiction!” or “Rewrite the single-dad as a samurai hitman!” and “Make sure there’s a snazzy soundtrack and at least one hipster dance sequence!”

Unfortunately, simply making something Tarantino-esque wasn’t the same because it lacked that certain thing… Tarantino. And more often than not, trying to imitate the new master’s superficial tics—without the elaborate and sturdy scripts that were also his trademark—just exposed a film and its director’s fatal flaws. But that didn’t stop studios from trying. Pulp Fiction sent ripples across Hollywood, and in the five years that followed, there were dozens of wannabes and knockoffs. Many were shameless ripoffs, some were decent imitations, and a few actually stand on their own merit.  READ FULL STORY

'Pulp Fiction,' 'Mary Poppins' among movies selected for National Film Registry

The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men. Blessed is he who, in the name of charity and good will, shepherds the weak through the valley of the darkness, for he is truly his brother’s keeper and the finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy My brothers. And you will know I am the Lord when I lay My vengeance upon you.

Or, you know, when the Library of Congress decides that Pulp Fiction has been recognized as a work of “great cultural, historic or aesthetic significance to the nation’s cinematic heritage.” The Library announced today that Quentin Tarantino’s 1994 masterpiece is among 25 motion pictures that have been selected to join the National Film Registry, a moving-image collection that now numbers 1.2 million items.

The Registry’s new additions run the gamut, including everything from a beloved family musical (Mary Poppins) to a seminal western (The Magnificent Seven), an acerbic deconstruction of marriage (Who’s Afraid of Virginia Wolf?), a classic film noir (Gilda), a fact-based celebration of the U.S.’s space pioneers (The Right Stuff), and a groundbreaking sci-fi epic (Forbidden Planet).


'Blade Runner,' 'Pulp Fiction,' 'Terms of Endearment' among films to screen at AFI Night at the Movies


Harrison Ford travels across the skyline of a dark, futuristic Los Angeles. Shrek perilously treks over a moat of lava. A man you thought was human grotesquely morphs into an alien creature. These scenes from Blade Runner, Shrek, The Thing, and more will be on the big screen at an event presented by the American Film Institute later this month.

The lineup for the event, AFI Night at the Movies, was unveiled Tuesday. AFI President and CEO Bob Gazzale calls the event “a film festival on speed” — 12 films will screen simultaneously in the Arclight Hollywood on Wednesday, April 24. The event will take over the Los Angeles venue, using every auditorium, including the 32- by 68-foot Cinerama Dome, where 1967 mystery film In the Heat of the Night will screen with an introduction by Sidney Poitier.

Gazzale told EW, “Ultimately what we’re looking for is an evening that crosses genres, everything from animation to romantic comedy to sci-fi, and then also crosses decades. We want to be certain that we’ve got a lifespan of movies here… that shows what the art form does across the years.”

Check out the full list of films, along with the actor introducing each one, below: READ FULL STORY

'Tarantino XX' Blu-ray: Robert Rodriguez talks about the power of 'Reservoir Dogs' -- EXCLUSIVE VIDEO

Twenty years ago, Quentin Tarantino directed Reservoir Dogs. Chances are you didn’t see it in a theater then — it grossed less than $3 million — but there was no denying the bold artistic statement made by the 28-year-old former video-store clerk when his violent feature debut premiered at Sundance in January 1992. Audiences were dazed and dazzled, critics referenced Leone and Peckinpah. But the movie, a non-linear narrative about a heist gone wrong, was entirely something new. And it would reverberate in Hollywood, especially when Tarantino followed it up two years later with Pulp Fiction, arguably the best movie of the decade — and undeniably the most admired.

Tomorrow, eight Tarantino films can be purchased together as part of Tarantino XX, a 10-disc Blu-ray collection celebrating his singular body of work. In addition to Dogs and Fiction, there’s True Romance (which he wrote), Jackie Brown, both Kill Bills, Death Proof, and Inglourious Basterds. Together in the same set, you can’t help but marvel at the purity of the work, the uncompromising vision that Tarantino instills in each movie. It makes one even more excited for Django Unchained when it arrives on Dec. 25. A bloody new red-band trailer for his pre-Civil War western is one of the set’s extra features, and it will remind you that Tarantino shoots to kill.

Below, director Robert Rodriguez discusses his first impressions of Reservoir Dogs and the man who would become a close friend and collaborator, on projects like Four Rooms and From Dusk Till Dawn. It’s part of the most excellent “20 Years of Filmmaking,” a new feature-length documentary that goes back to the very beginning. READ FULL STORY

Miramax creates Facebook app so you can rent, buy movies. Will you 'Like' this?

Miramax announced today that it has inked a deal with Facebook that allows users of the social media site to buy or rent digital versions of the studio’s films. Miramax’s Facebook app, called The Miramax Experience (it can be found here), will allow people to view selected movie clips and play games. During the beta phase, the App’s VOD feature will make 20 titles available for rent, including Good Will Hunting, Pulp Fiction and Chicago. Eventually, consumers will be able to buy movies and watch them on any device.

According to the studio, 50 million Facebook users cite a Miramax movie among of their fave films. Miramax hopes to reach 150 million Facebook users within 18 months. More details about the service can be found at

'Avatar' vs. 'Up in the Air': The most symbolic Oscar race since 'Forrest Gump' vs. 'Pulp Fiction'

On Academy Awards night, the moment just before the announcement of the Best Picture winner is always, of course, intensely dramatic — even if it’s one of those years when it has become obvious, by the end of the night, which film is going to win (hello The Sting, Gandhi, The Silence of the Lambs, Titanic). But the Oscars can be even more dramatic if you have no clear idea what’s going to win (hello Annie Hall, Driving Miss Daisy, Crash). And the years, to me, when they have the most drama are those in which the competition for Best Picture is dominated by two front runners, and each one of those movies stands for something radically different within the Hollywood cosmos. Then you have a horse race charged with meaning.

To me, the last Academy Awards year that really had that full-on, King Kong vs. Godzilla culture-war vibe was 1994, when the competition boiled down to Forrest Gump vs. Pulp Fiction. The fact that Quentin Tarantino’s jubilantly violent and head-twisty independent-cinema landmark had zoomed to the front ranks of the Academy Awards derby was enough to electrify the evening all by itself. Clearly, this was an acknowledgement, by the Hollywood establishment, that the indie movement was no longer just a bunch of eager rude upstarts but that it had truly arrived, and was a force to be reckoned with. But, of course, the Hollywood establishment doesn’t tend to like eager rude upstarts who rewrite the rules of their business. And so it was poetically perfect that the movie Pulp Fiction was competing against was Forrest Gump, a sentimental patriotic afflicted-hero fairy tale that seemed, in many ways, to be a kind of crowd-pleasing candy box of “mainstream” values. READ FULL STORY

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