Stealing Pulp Fiction (2025) - Film Review

      Stealing Pulp Fiction, 2025.

      Written and Directed by Danny Turkiewicz.

      Starring Jon Rudnitsky, Karan Soni, Cazzie David, Jason Alexander, Oliver Cooper, Taylor Hill, Elin Hampton, Chris Barry, Matt Adams, Ennis C. Jackson, Alex Morand, Skip Howland, and Seager Tennis.

      SYNOPSIS:

      Jonathan, Elizabeth, and Steve attempt to steal Quentin Tarantino’s personal copy of Pulp Fiction (1994).

      Despite the fact that fundamentally crafting characters should come easily in a comedy titled Stealing Pulp Fiction, it turns out to be the most challenging and perplexing aspect for writer/director Danny Turkiewicz, who is expanding his short film into a full-length feature that lacks enough content to uphold its already brief runtime of 78 minutes. The narrative involves a mix of Quentin Tarantino enthusiasts and possibly a few detractors engaging in a quest to nab the director’s private 35mm print, which is screened annually at his own New Beverly Cinema—though that's not the real title or location in this instance, for obvious reasons. There's even a comically poor Tarantino impersonator included in this nonsensical experience.

      Jon Rudnitsky plays Jonathan, who somewhat embodies this notion; he’s an admirer of both Quentin Tarantino and Pulp Fiction, yet his intentions for stealing the print are purely profit-driven. This diminishes the heist component, making it feel generic, focusing on the theft itself rather than the richness of the material. The film instead spins a subplot portraying Jonathan as a creep, as he shares theoretical stolen film reels with his depressed therapist Dr. Mandelbaum (Jason Alexander, one of the few redeeming features of the film, as he often brings humor), in exchange for information about a conventionally attractive female patient (Taylor Hill) whom he leers at during the short interval between her leaving his office and his next appointment.

      Jonathan’s close friend and accomplice is Karan Soni’s Steve, who is inexplicably portrayed as cartoonishly foolish. The character seems apathetic towards Quentin Tarantino, merely following Jonathan’s schemes out of boredom and lacks any realistic depth. Even Beavis from Beavis and Butthead had moments of insight. Here, Steve’s absurd stupidity lacks a genuine reason, although Karan Soni manages to make it somewhat effective with his comedic timing, contrasting Jonathan’s misguided determination and crudeness with overt politeness and innocence. Still, the character's role in the film remains a mystery.

      A new team member appears as Jonathan realizes they can't manage this alone and seeks assistance from unapologetic Tarantino critic Elizabeth (Cazzie David), who could have provided an interesting counterpoint to the fanboy dynamic if the script had pursued that angle more seriously and avoided the easy criticism that Tarantino doesn't create compelling female roles. Even the foot fetish joke, which holds some truth based on his films, feels overly simplistic.

      Danny Turkiewicz shows little passion or respect for Quentin Tarantino, except for occasionally imitating some visual flair (like flashing red lights and sirens at one moment during a theater scene) and letting characters ramble about trivialities. However, it’s uncertain if this rambling is intentional or just a consequence of there being, at best, 45 minutes of substantial content. The film reaches its conclusion before hitting the one-hour mark, yet oddly manages to extend with two additional chapters.

      There’s little of significance to say about Tarantino’s films or him as an individual, suggesting that Stealing Pulp Fiction is crafted by someone lacking engaging perspectives or connections to the filmmaker. The sporadic moments of humor do not relate to the premise of the film; a practice run attempting to rob Dr. Mandelbaum, whose office is located behind a karate studio, generates the most laughter in a movie that is already short on comedic moments. However, the film does present a clumsy, contrived ending about the unifying power of cinema.

      It’s an enticing premise for a comedy that is frustrating from the start, strangely presenting the title card before Pulp Fiction is mentioned, and only after a few minutes of dialogue. Stealing Pulp Fiction is generic to the point where it could have revolved around the theft of anything, not just a personal 35mm copy of one of cinema's greatest classics.

      Flickering Myth Rating – Film: ★ / Movie: ★ ★

      Robert Kojder is associated with the Chicago Film Critics Association, Critics Choice Association, and Online Film Critics Society. He also serves as the Flickering Myth Reviews Editor. Check here for fresh reviews and follow my BlueSky or Letterboxd.