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This is hands down my favorite QT film. It is full of quiet moments that let a scene play out naturally; nothing is forced, no gimmicks or tricks. Something QT does better than most. Check out the scene where Sam Jackson goes to Chris Tucker’s motel room to put him down for the dirt nap; that long shot of the car rolling around the block. The quiet moments between a brilliant Robert Forster and the equally brilliant Pam Grier in her greatest role of all-time (though I am a sucker for THE ARENA), the long tracking shot in the beginning as Jackie gets off her plane. Those are the moments I dig the most.

I can’t let a write-up of JACKIE BROWN go by without the mention of one of my favorite actors who we don’t see enough of these days. The icing on the badass cake of this flick; Michael Keaton as Ray Nicolette, a role he would again reprise, though briefly, in OUT OF SIGHT (another Elmore Leonard novel, Jackie Brown is actually Leonard’s Rum Punch though loosely based). Fucker just nails a cop looking to nail a case. If there was any kind of justice in the world Ray Nicolette would have his own film, and it would be 120minutes of old school cop action. 

JACKIE BROWN, the very best there is. When you absolutely, positively got to kill every motherfucker in the room, accept no substitutes.

SEE YOU ON FORTY DEUCE,

G

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Jon Abrams

Editor-In-Chief at Daily Grindhouse

Jon Abrams is a New York-based writer, cartoonist, and committed cinemaniac whose complete work and credits can be found at his site, Demon’s Resume. You can contact him on Twitter as @JonZilla___.

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