Pulp fiction

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Koons is mostly used for exposition, showing us why Butch's watch is so valuable to him that he risks going back to his apartment to retrieve it later in the movie. But thematically his speech is very consistent with the film's themes of loyalty, camaraderie and pride.

5. The setup: the boxer Butch Coolidge double-crosses crime boss Marsellus Wallace (Ving Rhames); instead of throwing a prizefight, he bets on himself and wins. The next morning, Butch heads to his apartment to fetch the watch; while there, he kills Vincent and hits Marsellus with the car. A limping chase on foot leads them both into a pawnshop, where Butch punches out Marsellus and the proprietor, Maynard, concusses Butch. Marsellus and Butch awaken in the pawnshop's basement, tied to chairs and equipped with red ball gags. Maynard is joined by, Zed, and their leather-clad servant, the Gimp; Zed decides that they will rape Marsellus first. Once they take Marsellus into the adjoining room, Butch knocks out the Gimp, and heads upstairs to freedom.

On the threshold of escaping his predicament (and his movie's genre), Butch has a crisis of conscience. He turns back to help Marsellus, the man who just tried to kill him, but first he needs to find a weapon. He grabs a claw hammer, then upgrades to a baseball bat, followed by a chainsaw. Then Butch spots the appropriate weapon of honor and vengeance: a samurai sword. Butch comes downstairs to find Zed sodomizing Marsellus . Butch kills Maynard. Butch saved Marsellus's life, so he can live — if he doesn't tell anyone what happened, leaves town immediately, and never returns to Los Angeles. And then we understand that Marsellus is going to take care of Zed. Butch's story of redemption echoes the transformation of Jules at the movie's end: he leaves the pawnshop having achieved his own state of moral grace.

4- The End

- Diner Scene. Jules and Vincent are eating breakfast. While Vincent is in the bathroom, a couple, hold up the restaurant. There’s a Mexican standoff. Jules recites the biblical passage, expresses ambivalence about his life of crime, and allows the robbers to take his cash and leave. Jules and Vincent leave the diner with the briefcase.

- commentary on the end

The movie ends about midway through its chronological order. This is the true climax of the film, as Jules is forced to confront his past life and change his violent ways. Maybe you think that a scene in which no one gets shot or dies is hardly climactic in a film which already has so many dramatic scenes. But it's not about action, it's about the heart of the story.

This ending is the thematic center of Pulp Fiction—redemption - not just about cool gangsters doing cool gangster shit.

IV - Critique

- Some people thought some choices were bad, but I think the acting was fantastic. It’s the movie that revealed Uma Thurman and Samuel L.Jackson and it really revived Travolta’s career.

- I could talk about Tarantino’s non-linear technique, the implied violence, the fact that he manages to couple violence with extensive, narrative-like dialogue or that he is a master of suspense. But Tarantino's genius stems from the fact that it is both inspired by and a result of an extreme infatuation with movies. His technique comprises what he has seen and admired in other films. His work is ultimately an homage. It seems that Tarantino's ultimate goal is to get audiences to appreciate the same films he does, and in the same way. And to be honest, it is a respectable ambition- the man has good taste.

- Anybody that’s 12 or more and likes to watch movies should watch it.

- 3.5, because it isn’t pretentious and doesn’t take itself too seriously, yet its truly entertaining, smart, witty, funny, and deeper than you might think. Not four, because it’s not Citizen Kane or Ashes and Diamonds.