I really admire how flawed and relatable the characters are in Tarantino's "Jackie Brown." Take Max Cherry, for instance. He's not your typical slick gangster in a sharp suit; he's just an ordinary guy dealing with thinning hair. And Jackie Brown herself isn't some criminal mastermind; she's more about putting on a tough act before facing down a gun runner. Even Louis Gara's absent-mindedness when he forgets where he parked during a robbery makes him seem all the more human. These characters feel like people you might actually know.
While Tarantino's later films are definitely praiseworthy, there's something special about embracing the humanity that shines through in "Jackie Brown." Sure, some viewers might have initially found it less flashy and intricate compared to "Pulp Fiction," but Tarantino's choices in this film are just right. From the opening credits that echo "The Graduate" and give us a quick glimpse into Jackie's world to gripping moments like Ordell's confrontation with Beaumont, it's all on point. And let's not forget about that unforgettable kiss at the end of the film-not because it's super sensual, but because it's imperfect and real.
While Tarantino's later films are definitely praiseworthy, there's something special about embracing the humanity that shines through in "Jackie Brown." Sure, some viewers might have initially found it less flashy and intricate compared to "Pulp Fiction," but Tarantino's choices in this film are just right. From the opening credits that echo "The Graduate" and give us a quick glimpse into Jackie's world to gripping moments like Ordell's confrontation with Beaumont, it's all on point. And let's not forget about that unforgettable kiss at the end of the film-not because it's super sensual, but because it's imperfect and real.