Pulp Fiction
Rated R
1994, Miramax

Not that long ago, writer/director Quentin Tarantino was a leader in the New Hollywood movement, blending art filmmaking with pop culture sensibilities in his films Reservoir Dogs, Pulp Fiction and Jackie Brown. As a result of his critical acclaim and public awareness, independent American cinema moved closer to the reach of studio movies. After five years of W.T. (Without Tarantino) cinema, independent movies continue to thrive. In fact, it's Tarantino who needs to reestablish his importance. Jackie Brown, his blaxploitation-inspired drama, and Pulp Fiction, the crime movie that jump-started his career, are re-released as special Collector's Edition DVDs. Together; they provide welcome opportunity to reevaluate his impressive work.

Jackie Brown doesn't celebrate blaxploitation cinema as much as it elevates it to a higher place. Samuel L. Jackson sizzles as the film's oily villain, gunrunner Ordell Robbie. Robert Forster is engaging and likable as bail bondsman, Max Cherry. Robert DeNiro gives a near silent, comical performance as Robbie's ex-con colleague, Louis Gara. Bridget Fonda, clad in cut-off shorts and a bikini top, shines in what could be her best performance, playing Robbie's girlfriend, Melanie Ralston. Still, Jackie Brown is all about its namesake heroine, an attractive stewardess who plans to scam Robbie out of half a million dollars.

Previous Pam Grier films like Coffy and Foxy Brown remain guiltless pleasures, but Jackie Brown gives Grier the performance of her career, emphasizing drama more than the sex and action. Grier is older, but as attractive as ever as Jackie Brown. Basically, she's still "a chick with drive who don't take no jive."

Five and a half years ago, watching Jackie Brown for the first time, I felt the film didn't achieve everything that it set out to do. Today, on a special Collector's Edition DVD, Jackie Brown dazzles more than I remember. Maybe it's finally free from its high expectations as Pulp Fiction's follow-up. Perhaps, commercial cinema has dipped in recent years. Either way, I have reversed my opinion about Jackie Brown. It blows my mind. It just took a second viewing to make its impact.

The only cliché moment in Pulp Fiction, still as entertaining as ever, is its opening graphic of the dictionary definition for "pulp." After that, Tarantino and Roger Avary's collection of crime stories are woven together into an eclectic firecracker. Some images resonate more powerfully than ever: Amanda Plummer's crazy stare before joining boyfriend Tim Roth in a restaurant robbery, Uma Thurman's Louise Brooks haircut and Samuel L. Jackson's bible-quoting, Jheri-Kurled hit man.

Violence plays a significant role in Pulp Fiction, and there are moments when the bloodletting feels gratuitous. Still, Pulp Fiction remains film art with a vicious sense of humor.

Both DVDs have an abundance of special features, but the best thrills come from watching the re-mastered films. The dialogue remains fresh and funny. It's also clear that few filmmakers use old Pop songs as deftly as Tarantino.

Potentially, 2003 could be a banner year for Tarantino. It's still to be seen what he'll do with his next film, the much-delayed Kill Bill. For the time being, Jackie Brown and Pulp Fiction remind us of his storytelling potential.

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