This film does for the n-word what "Scarface" did for the f-word.
Not before, in the entire history of the United States, has one man found such a convenient way to use the word "nigger" without first joining the Ku Klux Klan. This film does for the n-word what "Scarface" did for the f-word, making "Jackie Brown" nothing more than a measuring stick by which worthless fraternity members can rate their drinking prowess.
Director Quentin Tarantino joins a long list of filmmakers who are masturbating their egos with excessively long films this holiday season. At a ridiculously long two-and-a-half hours, Tarantino's is the most vile offender. There is nothing in "Jackie Brown" that is worth that kind of time. Tarantino has nothing worthwhile to say, nothing new to offer. The reason his film is so long is because he seems to find humor in the mundane - in scenes that don't propel his story forward one millimeter.
Jackie (Pam Grier) is an airline stewardess who smuggles cash for gunrunner Ordell Robbie (Samuel L. Jackson). When she's caught by an ATF agent (Michael Keaton) and an L.A. cop (Michael Bowen) things get ugly. The cops want her to talk. Ordell wants to kill her before she does. With the help of a bail bondsman (Robert Forster), Jackie has got to figure out a way to outwit everybody.
It's important to remember that Tarantino wrote this film, even though it's based on Elmore Leonard's "Rum Punch." It's his fault there's so much wrong with it. Who's the star? It's called "Jackie Brown," yet Samuel L. Jackson dominates the film. Even the soundtrack is lame, which, in a Tarantino film, is the worst kind of offense.
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