Ready for adventures with Pee-Wee?  By Indie-Ana Jones
At the Blue Starlite Drive In Sept 2&4!

So a kid loses his bike, big deal? Who cares, everyone loses something in their lives that they consider precious.  Not so fast it all depends on the kid, or should I say man and the bike.  No it’s not Lance Armstrong and his speedy tour de France winning bicycle, nor is it Evil Kenevil and his awesome stunt motorcycle, it’s not even Howard Wolowitz and his trusty vespa.  It’s Pee-wee Herman and his super awesome red retro bike.  Nothing is worse for a boy to lose his bike to the mean, rich kid, bully; but for someone like Pee-wee it is like losing his best friend!  So we are off on a quest of a lifetime to find and save his beloved bike.  But really what’s the big deal about this big adventure?

Well to begin with; this is the first time the general public got to see the wacky, zany mind of Paul Reubens before his TV series became a hit.  Having only appeared in small bit parts here and there on film and TV, (look up on youtube and watch Reubens as a contestant on the Gong Show and The Dating Game) Reubens had to come up with something extreme to get noticed in Hollywood.  Written together with good friend and SNL comedic star Phil Hartman, and Micheal Varhool, this story was the circus cannon that made his career skyrocket.  It has a premise all kids and adults could relate to.  Gathering together some famous and not so famous faces, Reubens still needed someone with a mind just as warped as his to direct this film.

In 1984, a young Tim Burton was just another wannabe director who didn't have much experience directing a full feature film until Pee-Wee.  He had only had a few productions of film shorts and a very bizarre TV movie for Disney that didn’t make the cut (look up Burton’s Hansel & Gretel and you’ll understand why).  So when a script came about that allowed him to play along with the crazy storyline, his film adventure began!  Betcha didn’t even realize Pee-Wee’s was a Burton production!  Well it’s obvious when you see Pee-Wee’s nightmares, or meet large Marge!

This was also the debut film of great musical collaborator to Burton, Danny Elfman.  Elfman and his brother were the front men for the 80’s band Oingo Boingo (Dead Man’s Party) but found his true voice as the composer for numerous films after Pee-Wee.  Interestingly enough Burton had been the artistic director for many Oingo Boingo music videos…which of course explains a lot.  What many don’t realize is that one beloved Burton character is voiced by none other than Elfman, namely Jack Skellington!  This Burton/Elfman collaboration will continue for decades after this first big feature film.

Though the story itself isn’t memorable, it’s what happens along the way that is unforgettable.  This film is irreverent, silly, ridiculous and just as haphazard as listening to an 8 year old’s retelling of a  day in his life after he is jacked up with Oreo’s and Mountain Dew and his sugar rushed stream of consciousness.  

After the bike disappears, Pee-Wee sets off alone to search for his kidnapped “friend”.  It takes him from a gypsy to bus rides, road side diners, creepy convicts, scary truck drivers, and even our own favorite Elvira as a tough no nonsense biker babe in the pinnacle scene that leads to the most epic dance moments ever to be on screen.   In the end the bike is found, the Alamo is remembered, justice is served and a generation remembers when phrases like “I know what you are, but what am I?” and "That's so funny I forgot to laugh." began popping up in childish adult conversation once again.

Almost 30 years later, I still recall first seeing this film with my little brother and listening to him imitate PeeWee for months after. So celebrate this cinematic masterpiece which was the springboard for many more adventures for Reubens, Burton and Elfman and come see it on the big screen at The Blue Starlite Drive In this week on Tues. and Thurs. Sept 2 &4 .  

The Film with the Midas Touch

I am a Bond freak. When I say that I'm a Bond freak, I mean that I've read every Bond novel, read every Bond comic strip, played every Bond video game, and even owned every figure in the Sideshow Collectibles James Bond line (though all but the inaugural figure were sold to help the wife and me find our first apartment). So believe me when I tell you that I am an authority on Bond. Hell, I even wrote a few papers in college on Casino Royale and its importance in modern literature.

The Bond novels are, on the whole, a very different beast than the Bond films. The novels are dark and gritty and realistic, more akin to a classic detective story than a grandiose, globe-trotting espionage thriller. Casino Royale created a genre when it was released in 1953. It was authentic and real, partly because Ian Fleming was in the British Secret Service in World War II and also worked as a journalist. Both jobs were integral to the creation of Bond. The novels read like a real life account of real life events. And the detail that Fleming put into his writing, describing even the minutia of Bond's drinks and meals, was almost nauseating. Never had someone given so much care to creating a character and the world he inhabited. The action was raw, the drama was real, and the passionate lovemaking was raunchy and plentiful.

It was no surprise that, almost immediately, someone would try to make a film based on the character. CBS produced a short film on Casino Royale that premiered on their TV program Climax! CBS obviouslt didn't understand the book because they took out all the defining elements and produced a short film about a smarmy CIA agent named Jimmy Bond who was about as shallow as the drinks he was enjoying in his fight against Le Chiffre. It left such a bad taste in Fleming's mouth that he almost didn't take the film deal presented to him by Harry Saltzman and Cubby Broccoli. That deal changed the film industry forever.

Casino Royale, the first novel and logical starting point for a new film series, was locked up with CBS who still owned the rights from the Climax! TV special. So a new starting point had to be found. And found it was...in Dr. No.

Dr. No is one of those rare examples of catching lighting in a bottle. Saltzman and Broccoli choase the perfect director in Terrence Young (who was as much the real life Bond as anyone was and perhaps even more so than Ian Fleming). the perfect composer in John Barry (who is uncredited but the undisputed master of the James Bond scores though Monty Norman technically is credited as the writer), and perfect cast. Though Fleming was vehemently against Sean Connery being cast in the starring role, few will argue against him being the definitive Bond. And no one will argue against him being a better choice than Fleming's pick, his cousin and later Bond villain Christopher Lee, who would play Scaramanga in The Man with the Golden Gun. And with the casting of Ursula Andress as Honey Ryder, a new standard in the series was set...sexy. She set the bar. And with the success that followed the film, it would be a high bar to reach.

Dr. No was followed by From Russia with Love. Terrence Young returned to direct and Connery returned as Bond. The really defining characteristic about these first two Bond films is how closely they adhere to the novels. With the exception of a few scenes that were not included due to budget restraints, the films are nearly identical to their literary counterparts. That's where Goldfinger comes in.

Goldfinger, by many, is considered to be the definitive Bond film but it is also the start of a slight diverging from the source material and inclusion of gadgetry (which would be taken to ridiculousness in the 70's Roger Moore era films) that began to define the film Bond as a different and much more successful animal than the literary novels.

After a dispute over money, Saltzman and Broccoli turned to Guy Hamilton to direct Goldfinger and it may have been the best decision they'd made since convincing Fleming to sign the rights of his books over to them. Hamilton introduced the pre-credits sequence. I know what you are going to say: "But, Dave! Young included one in From Russia with Love." And you'd be right. Except that it set up the story by introducing us to a Super Soldier version of Robert Shaw. The pre-credits sequence in Goldfinger had nothing to do with the rest of the film and was plain old gratuitous action that Michael Bay would be proud to claim as his own.

Hamilton also brought in some of the most lucrative product placement deals the film industry will see. Bond wore Rolex watches (it wasn't always an Omega) and drove Aston Martin automobiles. Bond no longer wears a Rolex, but few items are so associated with a character as Bond with his Aston Martin DB5.

And speaking of Aston Martin, the gadget filled car was another divergence from the novel. There is a chase in an Aston Martin, but it is pretty run of the mill. But the film brought in oil slicks and missile firing headlights and revolving license plates and the oh so famous tire spikes.

But, Hamilton didn't go too far off page with his 007 directorial debut. The classic scenes in the Fountainebleau, and the golf course, and the buzz-saw (though it was changed to a laser in the film) were all intact. And the vile, evil genius of Auric Goldfinger was kept intact. Gert Frobe delivered (though it was overdubbed) one of the most iconic lines in the franchise after Bond asks if he expects hims to talk responding with a half chuckled "No, Mr. Bond. I expect you to die!" The story was bigger and more complex than any of the previous films and once again the film was a success. It helped solidify Bond in the psyche of the film going public as a mainstay. When there's a new bond film, you go see it.

After Thunderball, the films began to employ more flash than substance. There are a few gems in there, like On Her Majesty's Secret Service (Yeah! I went there! I loved that one. And if you haven't seen it lately and just remember all the wardrobe bashing..watch it again...it's brilliant), and Live and Let Die, but the series lacked a certain quality that only Young and Hamilton could truly bring out in it. The guys just understood the character and what the novels were trying to accomplish. They are more responsible than Conner, in my mind anyway, for the success of the franchise. And Hamilton in particular for all the new standards he set with Goldfinger.

Leave the weapons loaded Aston in the garage this weekend and drive the family sedan to introduce the family to the real Bond...the one and only Bond...and fall in love with Honor Blackman all over again.

Dave Starkiller

...And a Couple-a Dollars Extra

Some genres have that one film that defines it. And often, your personal definitive film is someone else’s. Example: Raise your hand if you believe Raiders of the Lost Ark to be the definitive adventure film. I’d be willing to bet that 90% of the world just raised their hands. But sometimes a genres definitive film isn’t so clear. If you want a mobster movie, there’s Untouchables, Casino, Godfather, Goodfellas…there’s no one movie that defines it. But there certainly is a film that changed the genre. With the release of The Public Enemy in 1931, however, the standard by which all gangster flicks to come would be set. The same is true of The Good, the Bad, and the Ugly.

To really understand the movie, you need to understand what a Western was pre-1964. Westerns were usually, but not always, a struggle of good versus evil. The good guy wore the white hat and the bad guy wore the black one. Think of the classic John Wayne films of the thirties and you’ve got your standard western. That standard was propagated throughout the forties and fifties with the success of supremely popular Lone Ranger film serials by the amazing Republic Pictures, and later the Lone Ranger TV series that would spawn the liked of Wanted: Dead and Alive, Gunsmoke, and Bonanza. And with the exception of Wanted, all those shows featured on radio before moving to the small screen.

All this is to say that America has had a love affair with the Old West since, well, the Old West. The time has been so heavily romanticized that, even though it was just 150 years ago, we’ve made more movies about the Old West than Rome, Greece, the Dark Ages, the Renaissance, Elizabethan era, or the Victorian era, probably combined. And it’s understandable why. The Old West represents opportunity and freedom. But what happens when a history buff decides to make a film based in the Old West, but depicting it as it was, not as a romanticized good versus evil, cowboy versus indian? You get A Fistful of Dollars.

A Fistful of Dollars is the first film in the Dollars Trilogy and a real game changer. It defied nearly all the conventions that a western should follow. For starters, the protagonist is an opportunistic ass, the violence (compared to what preceded it) was staggering, and the writing was very sophisticated. Ok, so you can make the argument that the film is a rip off of Kurosawa’s Yojimbo and you’d be right. And you can make the argument that the violence is due to the brilliant Sergio Leone’s lack of understanding of how westerns were shot. And, sure, you can also claim that the anti-hero had been around since ancient Greece and Homer. But something special happened with A Fistful of Dollar’s release in 1964. It completely changed the way we view westerns.

A Fistful of Dollars was followed a year later by For a Few Dollars More. Clint Eastwood returned to the role he originated the year previous, only this time he wasn’t pinning two warring households against one another, he was collecting a bounty. And the classic close up shots of the eyes were defined. The shot has become one of the most popular and recognizable in the genre and beyond. What is a showdown without a close up of the eyes? You can thank Leone for that.

The chemistry between Eastwood and Lee Van Cleef was amazing as well. So it’s no wonder that the two returned in The Good, the Bad, and the Ugly. Of course, Leone loved to work with artists he had worked with before, but there has to be chemistry to the movie to work. So, a year later, we have The Good, the Bad, and the Ugly and it is even more ambitious that its predecessor. The film was a prequel that told the story of how Blondie (or Joe or Manco depending on the film, but we can just call him The Man with No Name) became the man we see in A Fistful of Dollars.

The huge, epic panoramic shots utilized by Leone hint to the huge, epic story that it attempts to tell. The last film in the series is definitely the one that covers the most ground and showcases the most character development. Of course, the story isn’t terribly unique: three guys race one another to a secret treasure and each one needs the other in order to find it. But it is all the elements that went into it that make it more than simply a rat race film. Not least of which is the gigantic, sweeping score of Ennio Moricone.

Moricone may be the most recognizable film composer of all time. Of course, there are the likes of John Williams, Danny Elfman, Hans Zimmer, James Horner, and Alan Silverstri. But once you hear just one note of Moricone’s music, you know who you are listening too. And it isn’t just that his scores are impressive to listen to. They fit the film and the characters perfectly. He may be the finest composer of the late twentieth century. No other composer captures a director’s feel and emotion like Moricone. In fact, for Leone’s Once Upon a Time in the West, the score was written entirely before shooting, with the music influencing the shots. Now, that is impressive.

So be it to see the film that set the standard for films like Tombstone and Unforgiven, or to enjoy the intense score, or simply to go back in time to the American Civil War, prepare your stagecoach to enjoy the finest spaghetti and western was ever accompanied with.

He Loves Only GOLD!

                  One out of every three Bond aficionados agree (including Steven Spielberg and Pierce Brosnan), Goldfinger is the best James Bond movie of them all. Although Goldfinger is the third 007 movie from producers Cubby Broccoli and Harry Saltzman, most can agree that this is the first movie to fully adopt the successful formula that ran the James Bond series  through to Casino Royale in 2006. This is particularly striking considering not all of the founding members of the Bond series returned for this third outing.  Maurice Binder is synonymous  with the opening titles of the Bond series, but Goldfinger's were designed by the lesser known Robert Brownjohn. The projection of scenes from the three 007 movies on the golden skin of Margaret Nolan (who played Dink in the early Miami Beach-set opening) with Shirley Bassey's bold and brassy delivery of the title theme song still stands as one of the highlights of the entire Bond movie series. Guy Hamilton took over from Terrance Young, who had directed the first two films, injecting a little more humor and glitz to the series. Although previous movies, Dr. No and From Russia With Love had its share of OTT moments, this entry is the one where you can see the series really ratchet up the more escapist elements of the Bond world. The previous movie had a suitcase with gas bombs and a rather lethal shoe on Rosa Kleb, Goldfinger features the now iconic Aston Martin decked out with gadgets galore including an ejector seat, prompting even James Bond to exclaim, "you must be joking". The debut of Desmond Llewellyn as quartermaster 'Q' to the series completed the family of returning characters Bond fans looked forward to seeing every entry. The longest serving cast member in the series, it's certainly interesting to compare this initial meeting between Bond and Q with performance from Llewellyn years later in entries like License to Kill or  The World is not Enough where the relationship was considerably less frosty. On the flip side, this is the first film sans Sylvia Trench, Bond's ongoing girlfriend. Introduced in Dr.No, Eunice Grayson is equally as memorable playing opposite Sean Connery in the first time he introduces himself as Bond, James Bond and there is a part of me that enjoyed the idea of her returning to the series from time to time, especially for Grayson sultry performance.  But the idea of an ongoing serious relationship for Bond wouldn't have worked well with the 3 girl formula Goldfinger seemed to establish (the belly dancer in the pre-credit teaser, Jill Masterson in the first part of the film and Pussy Galore at the end).  The Bond girls in this entry are some of the most well remembered, starting with the stunning Shirley Eaton who went down in history as the girl painted in gold from head to toe as Goldfinger's revenge against Bond. Honor Blackman will never lose her status as the most memorably named Bond girl in the series, with an introduction that is hard to imagine would clear network censors. One Bond girl who is not onscreen, but makes herself heard is Shirley Bassey, who together with score composer John Barry, capture a sultry and brassy style of music that many subsequent films in and out of the Bond series have tried to tap. 

                Considering he's one of the few villains to double as the film title, it's not a surprise to find he's one of the more memorable ones. Gert Forbe via the dubbing by actor Michael Collins delivers one of the classic hero/villain exchanges with Bond strapped to a table with a laser slowly inching closer and closer to splitting him in half; "You expect me to talk?", "No, Mr.Bond, I expect you to die!".  The laser beam sequence is a standout scene that still plays out very suspenseful and tense. Die Another Day had a callback to the Goldfinger scene with multiple lasers and Halle Berry strapped down under interrogation that paled in comparison to the singular laser that threatened Sean Connery.  No discourse on Goldfinger can be complete without talking about Sean Connery and his definitive portrayal of the super spy.  His is still the standard by which all actors in the role are measured by. Connery was suave and witty when needed, but delivered the cold blooded ruthlessness that made you believe he was licensed to kill. In Goldfinger he's still enjoying the role and taking it seriously. 

                Goldfinger is the first of several associations the Bond films have with the city of Miami. As a kid I remember always getting a thrill of driving by the curvy Fontainebleau Hotel , designed by  Morris Lapidus, and recalling John Barry's memorable bit of scoring during the flyover of the hotel in the movie.  I grew up with stories of how Thunderball's Disco Volante rested near Watson Island for years and I yearned to see the filming that took place on the Seven Mile Bridge for License to Kill in '88. Sadly, as hard as Casino Royale tried, they couldn't convince any Miami local that the "Miami" airport seen was MIA (it was in fact Prague International  with lots of palm trees). Hopefully Bond will return to Miami soon.

Happy 30th Anniversary to The Adventures of Buckaroo Banzai Across the 8th Dimension! by Indie-Ana Jones

Take a savvy uber-intelligent science genius, aliens from another dimension, an 80’s rock band made up of more colorful characters than the Village People, a lot of shameful fashion choices, and a cool transport vehicle and you got yourself The Adventures of Buckaroo Banzai Across the 8^th Dimension!  What?? WHAT???? You never heard of it, you never.…wait, hold on let me calm down and tell you why you have to watch the most awesomely awful and yet memorable 80’s sci-fi mash-up movie.

so you get the Adam Ant reference

Where do I even begin?  The cast? The story? The filmmakers, the clothes, the music the special effects?  Ok let’s start with the wild cast of characters directed by W.D. Richter.  Buckaroo Banzai is Peter Weller himself, you know him RoboCop, ok how about Stan Liddy from Dexter or Barosky on Sons of Anarchy?  Yeah, that guy … well this Buckaroo dude a scientist/comic book hero who finds a way into the 8^th dimension with the Oscillation Overthruster (like the flux capacitor), while on the side heading up the Hong Kong Caveliers – kind of like an Adam Ant band and trying to save....drum roll...yep you guessed it the world!  His bandmates are just as interesting, who are surgeons, inventors, car designers you name it.  Wait, hold on I am rushing through this in my apparent excitement.  Let’s start with some names you may recognize.

Say what?

Jeff Goldblum, yes the geeky heartthrob we all love and don’t deny it, he appears as the character New Jersey, a surgeon who just happens to like to dress as a cowboy, like a really badly dressed cowboy with a ten gallon hat. As I would say to him in person, thank God you're cute - we'll overlook this one. Or how about Ellen Barkin as Penny Priddy who is caught in the midst of all this consipiracy of the 8^th dimension aliens wanting to go home and figuring out what happened to her sister.  Oh and you Back to the Future fans will recognize alien John Bigboote, yes say it just as it is spelled,  portrayed by Christoper Lloyed (Doc).  And perhaps you remember the name John Lithgow, (3rd Rock from the Sun) as he gives a superb rendition of Dr. Emilio Lizardo whose body is possessed by 8th dimension alien Lord John Whorfin who with the Lectroids just want to go home.  He also delives my favorite line in the film, “Laugh while you can monkey boy!”  Or Rawhide, best friend to Buckaroo portrayed by Clancy Brown, oh yeah sure you don’t recognize the name, but the voice has given life to thousands of cartoon characters in shows such as Superman and Justice League series, The Voltron series, Powerpuff Girls, Teen Titans, Jackie Chan adventures, Avatar the last Airbender (and Legend of Korra), Kim Possible, Phineas and Ferb…oh and what’s that – oh yeah a cheapskate but good hearted fast food owner under the sea, Mr. Krabs.  Cool huh?  And for those for you who don’t watch cartoons but loved Breaking Bad, (Mike Ehrmantraut) Jonathan Banks appears for just a moment but you'll stop and say "hey isn't that Mike? (you might also see him in Gremlins too if you pay attention.)  Oh yeah and Jamie Lee Curtis also appears for a moment as buckaroo's Mom.

Gosh I can’t even begin to explain the story in just a few short words, I mean truly I can’t, but it is so fun to watch who cares what the storyline is?  But seriously it would take me longer to explain the plot and subplots and relationship between the characters that would just take all that wonder away from watching the film yourself. Knowing that there are martians in New Jersey also explains a lot doesn't it? Yeah I admit, it's hokey and campy and down right all what the 80's is so well known for being, but that in itself is why this is on my must be viewed list (which I literally just made up, right now) you just gotta see it!

So where can you see this film you never heard of but now seems too awesome (from this little blog) to miss seeing?  Well your own Blue Starlite Drive Inn is going to add this fun film to its upcoming lineup later this year!  Look for it and other fun 80’s film Big Trouble in Little China!   And as Buckaroo says, "No matter where you go...there you are!"

The Good come to Blue Starlite, the Bad and Ugly stay home.

When I was a kid, one of my favorite things on TV (in the days before DVRs and satellite cable) were the themed 8pm movies on the syndicated channels.  There would be Planet of the Apes week, Chuck Norris week, etc. My dad would call from work on those nights, asking me to check what the evening's movie was. If it was something he liked, he'd tell me to tape it for him on the VCR. Of course it was better for him if I stayed up to tape it without commercials (and better for me because I'd get to stay up late watching a movie). So along comes Clint Eastwood week, and that's when I first saw the Sergio Leone classic, Il buono, il brutto, il cattivo; otherwise known as The Good, the Bad, and the Ugly. Right from the beginning I remember being captivated. The opening theme from Ennio Morricone  stays in your head forever;  it has to be one of the most recognizable bits of film music ever. The way the opening titles splatter across the screen like blood in bold colors with those iconic faces of Eastwood, Wallach and Van Cleef grabs you before the story even starts. This was the last time the director worked with either of his most recognized stars, Eastwood and Van Cleef, and although I prefer both in For a Few Dollars More, both actors are in fine form, even opposite the scene-stealing Eli Wallach as Tuco. The story has all you'd expect from a Leone Western;  gunslingers, revenge, gold, and a showdown to end all showdowns. In fact, it's just about THE ultimate showdown with a rousing score and sweaty stares going round among the headlining trio. The movie shows off an epic flair that would eventually explode in Leone's Western magnum opus, Once Upon a Time in the West.  Like West, this film operates on a scale and scope that demands every inch possible of the big screen you can only get on a good sized cinema screen. Suffice to say, Leone did not compose his shots for a small tv; not the small Zenith I had in my bedroom when I was  a kid, or the HD tv you have hanging in your entertainment room. This is a movie for the big screen, folks. I was lucky enough to catch a screening of West at the Miami Film Festival some years back and it was only then that I really understood what those critics were writing about when they talked about those amazing close-ups that Leone would utilize. When this plays at the Blue Starlite, you can bet I'll be there, really seeing this movie for the first time as it was meant to be.

If you're new to this film, be sure to check out the rest of the 'Dollars' trilogy, A Fistful of Dollars and For Few Dollars More. They are loosely connected to this one, mainly in style and actors, and take place after the time of this film. Also be sure to check out The Good, the Bad, the Weird for a western from Kim Jee-woon inventively inspired by this classic.

 

Recalling Pulp Fiction

                When I was a young kid, my parents picked what movies I'd go see at the theater. I had input of course, but ultimately they would decide. They picked well. Star Wars, Raiders of the Lost Ark, The Dark Crystal, etc. At some point, at least with my dad, I started picking the movies. He knew I watched more about movies on TV than he did and so he usually ended up asking me what looked good. That's the way it went with Pulp Fiction. He asked me what it was about, I told him it had gangsters, John Travolta and Bruce Willis. He was sold and off we went one Tuesday night to the Bakery Center to watch a movie unlike anything we'd seen before. Right away we could tell this was not like any movie we were used to. The emphasis on the dialogue and the fractured storytelling added up to a movie that I can still remember being something that my dad and I talked about on the ride home and for days and months to come. 

                The cast is fantastic and I remember it being the movie where I first really took notice of favorites like Samuel Jackson and Tim Roth.  The soundtrack was one of the highlights for me and I remember going straight away to Specs and buying it on cassette so I could play over and over  Chuck Berry's " You Never Can Tell" and the remake of "Girl, You'll Be A Woman Soon" from Urge Overkill.  

             Scenes that still linger for me are the Christopher Walken scene where he tells the story of the watch (a classic for Walken fans) and the restaurant sequence with Travolta and Uma Thurman that left me wishing there was a place to go eat like that somewhere in town.  Of all his movies, Pulp Fiction has remained my favorite from Quentin Tarantino.  The pacing and the editing in this movie is perfect; whereas later films from him have become a bit self indulgent with the usual Tarantino tropes for my taste. Although it's not his first movie (Reservoir Dogs has that distinction), I've always believed this movie encapsulates Tarantino's style so well, making Pulp Fiction, not just the title for this movie, but indeed Tarantino's whole filmography. Pulp Fiction entertains with so much hilarious dialogue that I wish I could quote as easily as many other people I know.  Packed with memorable performances from a slew of favorite actors, this is a movie I'm looking forward to seeing again on the big screen very soon.