Exemplary black comedy: in the long intervals between several ugliness inherent in gangsters, and even in the process of their commission, the characters of the film talk in detail, parrying arguments with counterarguments and trying to express their thoughts impeccably clearly, because it is important for them to accurately convey them to the interlocutor in order to reveal the essence of the topics discussed - sometimes others. Travolta is like an assistant professor, Jackson is like a professor, Tim Roth is like a graduate student, Uma Thurman is like a promising graduate student, Tarantino is like an ambitious junior researcher, but then Harvey Keitel appears, and it becomes clear which of them is an academic. Much depends on translation: in comparison with the Goblin, “television” options in expressive means, alas, are limited.
The film is multifaceted, among other things, in the film powerfully and subtly - and very differently - conveyed sensuality and eroticism in several hetero-couples formed by its characters. Even in the film, one feels the value of the director of the local sound background of musical culture - the wonderful composition of Dusty Springfield is indicative - characteristic, apparently, for those years when it was formed.
Unlike other Tarantino films, this one is remembered in detail. It's all the magic of cinema, it's all done.
