The story in Pulp Fiction is actually three stories intertwined through the characters. The common thread between the three stories is that the central characters of each story are confronted with a wild situation through which they must not only survive, but help the others involved.
In the first story, Vincent (John Travolta, in the role that revived his career) is on an arranged date with Mia (Uma Thurman), his boss's wife. When confronted with danger, Vincent reacts with self-interest in mind. He saves Mia, but he does it only to save his own skin. This story leads us to believe that Vincent has not learned from his trial, and he will pay later.
The second story is about Butch, (Bruce Willis) a boxer who is fleeing with his lover after his final fight. He must return to his home (for a reason that is creatively justified), and on the way meets his enemy, Marsellus (Ving Rhames). Both men's lives become threatened, but Butch has a chance to escape. He must choose between running away safely or risking his life in saving his enemy's. His decision shows that he is remorseful for his prior actions, and he is a better man for his experiences.
In the final story, Vincent and his partner Jules (Samuel L. Jackson) witness what Jules believes is an act of God. As Jules tries to figure out what it all means, they encounter an obstacle in their mission. In the end Jules decides that he must change his lifestyle and tries to convince Vincent that there is a higher power involved. Vincent remains unaffected (as in the first story), and it is no surprise to us at the end of the movie that his good luck has run out.
I am a fan of most of the actors in Pulp Fiction, some because of their roles in this movie, but one truly stands out. Samuel L. Jackson delivers a powerful (shall I say "tour de force") performance as the contemplative hit man. He compensates for a lack of screen time with his commanding presence. His eyes alone are enough to intimidate his victims. When combined with Quentin Tarantino's threatening interpretation of the Bible, Jules Winnfield becomes the quintessential bad-ass with a brain.
Any review of Pulp Fiction would be incomplete without mentioning the colorful dialogue. Writer/director Tarantino is a master at creating conversation that reflects the personality of his characters without distracting from the stories. I used to break into conversations with my friends, talking about quarter-pounders with cheese, bacon, pork chops and TV pilots, quoting word for word from Pulp Fiction.
Visually, Pulp Fiction is a treat to watch. Almost every scene seems to be tinted with an orange hue, and unconventional camera angles and techniques contribute to the pulp novel feel of the movie. In one shot, during Marsellus' lecture to Butch about the value of pride, the camera lingers on the character on the receiving end of the speech instead of the speaker. Since we don't know anything about Marsellus except how he speaks and how others speak of him, our imagination creates its own image of this powerful beast of a man before the camera has a chance to show us what he really looks like.
Pulp Fiction is filled with scenes that will stay with you long after you have watched the film. The scene in Jackrabbit Slim's showcases some of the icons in America's pop-history, including one that stars in the movie. The needle scene is enough to convince you to stay away from heroin forever. And the basement scene will make you think twice next time you go into a pawn shop.
Some of the most fun aspects of Pulp Fiction are the unanswered questions. We know that the briefcase is carrying something very important, but we don't know exactly what. We get some hints into Marsellus' irrational temper, but we never really see exactly how bad he can be. And what the hell is the Gimp?