Pulp Fiction 4K UHD

Anyone that rates this movie less than 5 stars needs to just watch TellyTubbies DVD's and accept the fact that the Tellytubies is simply the most their minds are able to process. One of the greatest movies of all time. The writer/director/producer and anyone else involved in the making of this movie was at the absolute top of their game. Just brilliant.

At last, the legend arrives (with little promotion for some reason) that got me into Tarantino in the first place. The quirky Pulp Fiction that I remember the first time I saw it at the cinema had me wanting to leave after the first 30mins because I didn't have a clue what was going on! So happy I stayed and since then the movie has seated itself firmly in my top 20. It's another of those movies that the dialogue and scenes have firmly lodged themselves in my crazy mind. When I see chips with mayonaise, I think of Pulp; when I someone mentions a magic marker, I think of Pulp; if someone asks me for a pair of pliers, I respond with 'And a blowtorch?'. I could go on. Yes, watching Pulp Fiction could damage your mind but I so advise you to do so - over and over again! It is bad language; it is violent; it's also epic! Ok, the transfer: With the blu-ray edition we get one of those wonderful cardboard sleeves slipped over the BD box (that I remove and place in the bin). On that sleeve, some kind sole has placed a sticker that says 'DIRECTOR APPROVED' and Quentin has even signed it - bless! I found this strange but when I fired up the movie, I 'd like to put my sticker on it too. The picture is amazing! We are talking crystal clear. Hairs on Tim Roths arms, stubble on JT's face that he probably didn't expect us to see and BAMF's hair looks super shiny. The legendary soundtrack comes out in DTS-HD master straight into our living rooms that I guarantee will have your limbs making unprovoked moves. Transfer score is 9/10 The extras are plentiful. It takes the extras from the DVD Collectors edition and adds some up-to-date interviews with the cast. Languages: English and ....English Subs: English Region locked

Cult classic

The stories of 2 hit-men, a gangster's wife and a boxer who doesn't throw a fight interweave in 90's Los Angeles. Director Quentin Tarrantino's classic follow up to his hit debut Reservoir Dogs, still one of his best films and is a thrilling and hilarious crime drama with excellent performances from John Travolta, Samuel L Jackson, Uma Thurman, Tim Roth, Amanda Plummer, Ving Rhames, Harvey Kietel and Bruce Willis with a cameo appearance from Christopher Walken. The characters are all mostly low life criminals but you can't help getting drawn in thanks to Tarrantino's excellent dialogue and the performances from the whole cast. A 90's classic up among the best films ever made looking fantastic in 4K Ultra HD.

This is a review of the product not the film! With how fractured, expensive and unreliable streaming services are these days, it is essential to maintain a collection of physical media. This DVD includes a disc of bonus material, in a standard DVD box with a well designed cover. At the time of purchase it was a fiver, which is a bargain as far as I am concerned

A Tarantino classic. Not to be missed.

Item is perfect. Quick delivery and great quality.

Still as good today as it was when I first saw it 30 years ago. If you haven't seen it yet, give it a go - it starts off a little slowly, but it's well worth watching all the way through.

Impresionante película e impresionante edición. Tras llamar la atención de público y crítica con su anterior película, Reservoir Dogs, Pulp Fiction supuso el espaldarazo definitivo para Tarantino. Si la primera la hizo sin apenas medios, con unos escenarios casi teatrales, aquí el incremento de presupuesto para nada significó una disminución en la calidad como les ha ocurrido a otros muchos, contando con un platel de actores de renombre que apenas caben en la carátula de la peli sin tapar el cartel. Esta película es buena muestra de casi todas las virtudes de Tarantino. Para empezar el hecho de convertir en puro arte e incluso en cine de autor lo que en teoría sería simple Serie B. Ya el título da una pista de por donde van los tiros, argumentos en teoría de novela barata pero que en las manos de Tarantino se convierten en historias que te enganchan desde el primer momento, con unos giros de guión sorpresivos pero para nada artificiosos y que hacen que te mantengas casi sin pestañear durante todo el metraje esperando cuál va a ser la siguiente sorpresa. Y todo contando la historia, o las historias más bien, saltándose a la torera los corsés de Introducción-Nudo-Desenlace pero dotando de cierta lógica a lo que se nos cuenta a pesar de estar todo el rato dando saltos en el tiempo. Parte de esa culpa la tienen los personajes y los diálogos que Tarantino les asigna. Junto al plantel, que Tarantino va convirtiendo en troupe a medida que va sumando títulos a su filmografía, el director va rescatando viejas glorias del cine comercial o de la Serie B (otra vez esa bonita letra) y dándoles en muchos casos el papel de su carrera, rescatándoles del ostracismo de la industria. De los diálogos hay que destacar, aparte del ingenio de las conversaciones, el saber meterlos en el sitio justo. Poca gente antes de Tarantino, o al menos fue éste el que consiguió convertir esto en algo habitual, había mezclado el costumbrismo con tanta naturalidad en películas de gansters. ¿De qué hablan los gansters cuando están trabajando? Pues de lo mismo que habla cualquiera con otro tipo de trabajo, el hecho de ser gansters no limita sus problemas al número de balas que va a necesitar para cargarse a un tío o cuál va a ser luego su plan de huida, sino que también hablan de qué hacen para relajarse, qué comen, a donde viajan... Algo que siempre se podía ver en los personajes policíacos pero pocas veces se trataba con profundidad al otro lado de la ley. Y ese contraste entre situación y conversación se convierte en una de las señas de identidad más características de Tarantino, dando lugar a situaciones de humor negro y surrealista. Como digo, Tarantino popularizó este tipo de costumbrismo gansteril hasta hacerlo algo normal y en cierta medida incluso series como Los Sopranos se convierten en deudoras de su cine. (Nota prescindible:) Serie que encumbró a otro de los actores Tarantinianos aunque sólo de rebote, James Gandolfini, que bordó uno de los mejores papeles de su carrera haciendo también de ganster en una peli de Tony Scott pero con guión de Tarantino (con casi todas las filias y fobias de éste): Amor A Quemarropa/True Romance. Hasta tal punto llega la maestría de Tarantino en la creación de personajes y diálogos que es habitual encontrar toda esa imaginería impregnando la cultura popular en camisetas o incluso escuchar coletillas de sus personajes en conversaciones entre amigos. Otra de las virtudes de Tarantino es elaborar bandas sonoras. Si hay directores cuyas películas serían irreconocibles sin unas partituras creadas a tal efecto, Tarantino recopila canciones que sobre el papel no pegan ni con cola, y las convierte en parte de su película de tal forma que luego ya resulta difícil no oír esa canción y recordar tal o cual escena. Con algunas de esas canciones consiguió lo mismo que con algunos actores, sacarlos del olvido y volverlos a convertir en superventas. Una película sin duda alguna para disfrutar como niños, aunque como niños grandes dado el grado de violencia gamberra. En el aspecto técnico, prácticamente todo impecable. Como algún comentario habrá hecho ya, lo mejor para conocer estos aspectos es remitir a la reseña de Javier Alonso aquí en Amazon. Aunque es un detalle el hecho de que hayan incluído en audio de alta calidad en español en vez de limitarse al Dolby o DTS ordinarios, aun así el audio original en inglés le da mil vueltas al del doblaje en español. Pero a mí me ha llamado poderosamente la atención el hecho de que desde el submenú de audio sólo se puede acceder al audio en inglés con subtítulos, siendo necesario acudir a las funciones propias del reproducto de Bluray para eliminar esos subtítulos y poder ver la peli sin el texto en pantalla, al menos en la copia de la que yo dispongo. Nota: Si te gusta esta peli y este tipo de cine, es altamente recomendable una película de ese mismo año y con características parecidas, Amateur de Hal Hartley.

This sits at the top of my 4k collection 👌

John Waters recently produced a countercultural personal manifesto, "Cecille B. Demented," in which he specifically targets two of the most depressiingly bad, yet representative, films of the 90's--"Patch Adams" and "Forrest Gump." But Waters' strained, juvenile ranting, for whatever therapeutic value it contains, is ultimately as lame and ineffectual as the films occasioning his rage. The only effective response to the mind-deadening, sedating Pavlonian formulas that pass for movies these days is a truly fresh, well crafted, yet perpetually playful, cinematic statement like Tarantino's dazzling "Pulp Fiction." Whatever you've heard, it's no "Citizen Kane," but in the context of the films of the day, its style and methods are certainly analagous to Welles' breakthrough film. If any proof of "Pulp Fiction's" singular artistry is needed, just compare it to "Natural Born Killers," Oliver Stone's subsequent, over-the-top attempt to beat Tarantino at his own game. Whereas Tarantino knows how to amuse and delight by using familiar patterns (the variation on the buddy theme, for example) which engage our human interest despite the unexpected contexts, Stone merely distances us from all the mayhem on screen, which generates about as much interest as watching someone else play a video game. But now I'm going to suggest something shocking, especially to all those hip critics and postmodern types who insist "Pulp Fiction" is a statement against meaning and interpretation, that the whole point of the cinematic experience is the experience, that "Pulp Fiction" is a 90's cinematic fun house, a celluloid carnival ride on which you go with the flow and miss the trip if you attempt to question any of the moments comprising its visual rush: The film has a potent message. As retro as Jules looks with his Afro-do, he's also a questioning Samuel, a wayward Old Testament prophet trying to sort out the meaning of justice, righteousness, and grace. When I ask young people about the film, they see Jules' "transition" as proof of a character who changes for the better, who for one moment at the end of the film stops being a self-appointed executor and takes on the role of the protective, forgiving Good Shepherd. Truthfully, I find the foregoing interpretation reductive. What's significant, however, is that many young viewers make an intepretation at all. In a culture that has for all appearances rejected the unexamined life in favor of measuring identity by MacDonald's vs. Burger King consumer tastes, Jules' act of interpretation is all the more noteworthy. And he offers not one, but no less than 4 interpretations of Ezekiel 25:17 before reaching the one that forces him to acknowledge both the thoughtlessness and arrogance of his previous interpretations. It's a moment, perhaps, that does not convince us of its lasting impact. But then again, Jules, like most of us, makes no claim to being "saved": he's in a state of "transition," doing the best he can to be a "good Shepherd" as much of the time as he's able. What more could any of us ask of Jules--or, for that matter, of ourselves?

The delivery was smooth , product is good .

A cinematic masterpiece that redefined modern storytelling. Quentin Tarantino’s signature dialogue, dark humor, and nonlinear narrative keep you fully engaged from start to finish. The performances are phenomenal—Travolta, Jackson, and Thurman are unforgettable—and every scene is packed with style and tension. A must-watch that rewards multiple viewings and remains endlessly entertaining.