Why So Blu?

Jackie Brown (4K UHD Blu-ray Review)

2025 is kicking off with a lot of style on 4K UHD with the releases of Quentin Tarantino’s hyperviolent Kill Bill Volumes 1 and 2, along with his low-key crime film, Jackie Brown, the subject of this review. The 1997 Elmore Leonard adaptation was once seen as a comedown from a man who caused a major jolt in independent cinema following the arrival of Reservoir Dogs and Pulp Fiction. However, over time, more and more have begun to see Tarantino’s neo-noir-ish blaxploitation tribute as one of his most mature and best features. Personally, Jackie Brown sits highest and is one of two or three films I currently state as my favorite of all time when asked. Certainly high marks for any movie to live up to, but it’s not without my own justification. Now presented with a new 4K restoration, many more can enjoy how the score goes down in Jackie Brown, with the film looking as good as possible. Booyah!

Film:

The Setup: “What do a sexy stewardess (Pam Grier), a street-tough gun runner (Samuel L. Jackson), a lonely bail bondsman (Robert Forster), a shifty ex-con (Robert De Niro), an earnest federal agent (Michael Keaton), and a stoned-out beach bunny (Bridget Fonda) have in common? They’re six players on the trail of a half million dollars in cash! The only questions are… who’s going to get played… and who’s going to make the big score?”

At the time of its initial release back in December 1997, many just wanted to watch Pulp Fiction 2.0. This is not that movie. One could boil Jackie Brown down by saying it’s a heist flick, though that would be too dismissive. What the film really functions as is a focused character study involving characters, both criminal and above board, who have grown past their peak years and now contend with getting older, retiring, and finding their own ways of staying ahead of those who doubted them. Thanks to nuanced writing and layered performances, whether the story delivers on a thrilling heist mission is beside the point. Tarantino wanted to build a film around adults who have lived a life, can share those experiences, and can maybe get a decent payday in the process.

Embodying these roles is one of Tarantino’s best ensembles in terms of how lived-in all of these characters feel and the fact that they all interact in various ways or could at least be seen as having a kinship with one another. Leading this cast is Pam Grier, who is stellar here. Playing both put upon and cool at the same time is no easy task. Still, here you have an experienced woman with a history that has set her back. Yet, she conducts herself entirely in line with her 70s days as characters such as Coffy and Foxy Brown. Clearly, Tarantino has a lot of admiration for Grier’s work, and he has her going toe-to-toe with everyone and never looks foolish.

Next to Grier is Sam Jackson, in what I would argue is one of his best roles, or at least my favorite of his Tarantino characters (no small feat, given the iconic nature of his work as Jules in Pulp Fiction). Ordell Robbi is a fantastic on-screen villain with all the charisma as any of the best Jackson characters, but a true sinister nature that comes out in various ways, including deep moments of silence that Tarantino often gives the space for. He’s also very funny in all his deliveries and a great embodiment of a competent criminal who has gotten by the way he does but is insecure enough to know he must resort to deadly measures when pressed.

At the time, along with Grier, the real revelation was seeing Robert Forster returning from obscurity to deliver one of the all-time great supporting performances, and it’s a true shame he only nabbed an Oscar nomination for it rather than a win. Forster’s Max Cherry is such a wonderfully well-rounded character that Forster would basically wink at with the various roles he would go on to take since (just think about his role in Breaking Bad) up until his passing in 2019.

For this film, we have another very confident and experienced figure who is about done with his time spent as a bail bondsman, but gets a new pep in his step once he meets Jackie. The chemistry between Forster and Grier is spectacular for a film that knows better than to trade in their interactions in exchange for more obvious ways to push the romantic tension. Forster’s various interactions with Jackson are pretty entertaining as well, including one of my favorite line deliveries regarding Ordell’s newfound knowledge concerning the kind of music Max listens to.

Taking more of a backseat to everything, Robert De Niro is having a ball doing very effective, quiet work as Luis Gara. The way we watch De Niro act as though he couldn’t be bothered to muster up more energy is such a great subversion of how to use the highly acclaimed performer and speaks to what intelligence all involved have in letting him lie low until it’s his time to pounce in the story. Working in a different direction is Michael Keaton, who uses his manic energy in a contained sort of way as the excitable ATF agent, feeling enough sympathy for Jackie to believe he fully has a handle on her. At a time when Keaton was in forgettable comedies and trashy thrillers, this was a nice turn to see, leading up to a fun extended cameo in Steven Soderbergh’s Out of Sight, where he could reprise the role.

And who could forget about Melanie? Bridget Fonda blends the idea of a pothead schemer with a fed-up mistress to make for a character everyone knows you can’t trust. Yet, she seamlessly fits right in with those she’s stuck living and spending time with. She’s just one of a series of smaller characters who get their time to shine as one of the underlings of Ordell, which also includes a memorable Chris Tucker as the guy who essentially puts this film’s story in motion, to begin with.

Of course, the story is only part of the experience here. At over two and a half hours, the film’s pace isn’t exactly leisurely (the dialogue is too rich, and the world is too interesting for this film to ever feel slow). Still, Jackie Brown is happy to take its time when it comes to adding momentum to the plot. We spend a good hour just getting to know these characters before anything resembling the trajectory of this story begins to take shape, and the film is better for it.

Notably being an adaptation, as opposed to one of Tarantino’s original screenplays, pulling from Elmore Leonard isn’t at all an ill-fitting move. Clearly a fan of the man’s writing, despite the changes Tarantino has made to “Rum Punch,” this is a wonderful melding of storytellers that really shows the benefits of how sympatico they were in terms of getting the details right, along with the basic story mechanics. As a result, here’s a film that manages to have the voice of both artists, rather than one side working in spite of the other.

Shot by Guillermo Navarro, one of the frequent collaborators of Guillermo del Toro and Tarantino’s longtime friend and fellow filmmaker Robert Rodriguez, Jackie Brown trades in some of the showiness found in Tarantino’s other features in favor of more concentrated long takes, both for close-ups and wider shots. That said, given the 70s influences at play, let alone Tarantino’s love for filmmakers like Brian De Palma, seeing the use of split-screen and the film’s own sense of humor when it comes to some clever chronological-based editing moves speaks to his way of weaving in some eccentric touches. Really, though, the amount of space Tarantino gives his performers continues to impress me every time I watch this film.

Of course, one must also expect a great soundtrack from a Tarantino film steeped in homage to the 70s, and that’s why the Jackie Brown soundtrack also sits as one of my favorites. Bobby Womack, Bill Withers, Randy Crawford, and, of course, The Delfonics, are just some of the artists featured here on this blended playlist of mainly soul and R&B tunes. It’s a terrific listen, and, once again, key to establishing a mood emblematic of the film’s themes.

Sure, these are cool characters who listen to hip music, but it’s still a reflection of their age. With Pulp Fiction, the characters existed in a stylized universe where the references they made spoke to things they grew up with and how they could relate them to their everyday activities as if everyone had the same media-heavy education Tarantino did. By comparison, Jackie Brown’s cast does not feel like different versions of people representing Tarantino. They may have clever things to say or a certain wit about them, but they are more introspective when it comes to the knowledge they have, the kinds of music they listen to, and how pop culture has affected their lives.

This is all a way of continuing to highlight the brilliance of Jackie Brown based on what a different step it was for Tarantino, who could have easily coasted more films like previous efforts. Sure, this movie still operates in areas suggesting the fun that comes with criminal capers and whatnot, but it’s a more reflective film, with deeper characterizations coming from an older cast willing to sit with a moment. It’s also incredibly entertaining, funny, well-crafted, and detailed, making any revisit worthwhile.

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Video:

Encoding: HEVC / H.265

Resolution: 4K (2160p)

Aspect Ratio: 1.85:1

Layers: BD-100

Clarity/Detail: Originally shot on 35 mm film, Lionsgate has noted that this brand-new transfer comes from a new remaster from a 4K scan of the original camera negative and master interpositive elements. The results are terrific, and it’s unsurprising. Pulp Fiction and Jackie Brown have always been well-serviced on home media, whether it was DVD, Blu-ray, or now 4K. While the Kill Bills have faced more scrutiny for whatever reason, it’s hard to imagine anyone finding anything poor to say about the amount of clarity present here. Striking details come through for a film relying on a vintage look despite coming out of the ’90s. The textures are great throughout here, as we can see plenty of clarity in the various environments at different times of the day. It’s all quite lovely.

Depth: Depth is terrific. The character spacing registers as well as it needs to, which is helpful for sequences such as the major events taking place in a mall, highlighting the dimensionality.

Black Levels: Black levels do enough to add to the atmosphere, with no sign of significant crushing. Very deep and bold.

Color Reproduction: This is a vibrant film where the colors really pop. Jackie’s blue flight attendant uniform, Ordell’s various outfits, Max’s suits, and more all speak to the vibrancy this transfer delivers.

Flesh Tones: There’s a good level of facial detail to be found as the film has plenty of close-up moments to shine, presenting these older actors as they were meant to be seen.

Noise/Artifacts: Clean.

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Audio:

Audio Format(s): English DTS-HD Master Audio 5.1

Subtitles: English SDH, Spanish

Dynamics: This is very likely the same lossless track as previously heard on the initial Blu-ray, and it continues to deliver. It may not be an over-the-top Atmos presentation, but you still get a full audio track to enjoy that makes good use of what’s available.

Low-Frequency Extension: The various soundtrack moments do enough to give the woofer plenty to do as needed.

Surround Sound Presentation: A lot is going on to help immerse the viewer into the film, including music and various sound effects reflecting the environments at certain times. The rear channels come into play well enough to make the lossless track feel more worthwhile.

Dialogue Reproduction: Everyone registers as they should, as this is a Tarantino film filled with dialogue, after all.

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Extras:

There’s nothing new to be found among the extra features. Still, compared to the Kill Bill movies, this is one of Tarantino’s most well-rounded films regarding the amount of extras available. It essentially amounts to 2000s-era retrospectives, but these nicely assembled featurettes get to the heart of what matters when hearing the cast, crew, and others speak about the film. Sure, I wish there was something new, but it’s an impressive collection of extras nonetheless.

Features Include:

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• Breaking Down Jackie Brown (HD, 43:49) – A critics roundtable discussion of the film between Elvis Mitchell, Scott Foundas, Stephanie Zacharek, Tim Lucas, and Andy Klein.
• Jackie Brown: How It Went Down (SD, 38:55) – The cast and crew discuss the various aspects of making the film.
  • Rum Punch: Reading It Again That Night, I Fell in Love with It (SD, 2:58)
  • Elmore Leonard: If You and Elmore Leonard Had a Child, That’s What This Is (SD, 3:26)
  • Quentin’s Influences: Quentin’s a Huge Fan of the ‘60s and ‘70s (SD, 4:01)
  • Pam Grier: Quentin’s Been a Pam Grier Fan Forever (SD, 5:52)
  • Robert Forster: And This Part Goes to Robert Forster (SD, 5:09)
  • Samuel L. Jackson: He Just Says Quentin’s Lines Probably Better Than Anyone (SD, 2:51)
  • Robert De Niro: I’m Actually Doing a Scene with Robert De Niro! (SD, 2:09)
  • Bridget Fonda: She’s from a Good Bloodline of Actors (SD, 1:55)
  • Michael Keaton: And ‘Bang,’ He Was the Guy (SD, 3:04)
  • The Production: I’m Making Movies with My Family (SD, 7:47)
• A Look Back at Jackie Brown: Interview with Quentin (SD, 54:42) – Tarantino spends plenty of time discussing his process regarding the making of and reception for Jackie Brown.
• Chicks with Guns Video (SD, 4:52) – The full infomercial seen in the film.
• Deleted and Alternate Scenes (SD, 15:29) – Presented as described while featuring an introduction from Tarantino and a gag toward the end.
• Siskel & Ebert “At the Movies” – Jackie Brown Review (SD, 4:46)
• Jackie Brown on MTV
  • Jackie Brown Promotional Contest (SD, 1:03)
  • MTV Live Jackie Brown (SD, 14:22)
• Marketing Gallery
  • Trailers
    • Green Band Teaser (SD, 0:50)
    • Theatrical Teaser (SD,1:31)
    • Theatrical Teaser #2 (SD, 1:28)
  • TV Spots (SD)
  • Posters (HD)
• Still Galleries (HD and SD)
  • Production Stills
  • Behind-the-Scenes Stills
  • Location Scouting
  • Production Design Sketches and Logos
  • Memorabilia
  • Posters from Pam Grier Movies
  • Posters from Robert Forster Movies
  • Soundtrack Covers from Pam Grier Movies
• Enhanced Trivia Track
• Soundtrack Chapters
• Robert Forster Trailers
  • Reflections in a Golden Eye (1967) (SD, 2:34)
  • Justine (1969) (SD, 3:13)
  • Stalking Moon (1969) (SD, 2:48)
  • Medium Cool (1969) (SD, 3:25)
  • The Don is Dead (1973) (SD, 1:16)
  • Avalanche (1978) (SD, 1:05)
  • The Black Hole (1979) (SD, 3:23)
  • Alligator – Teaser (1980) (SD, 1:06)
  • Vigilante (1982) (SD, 1:41)
  • Walking the Edge (1983) (SD, 2:40)
  • Hollywood Harry (1985) (SD, 1:23)
  • Night Vision (1997) (SD, 3:05)
• Pam Grier Trailers
  • The Big Doll House (1971) (SD, 2:13)
  • Women in Cages (1971) (SD, 1:32)
  • The Big Bird Cage (1972) (SD, 2:46)
  • Black Mama, White Mama (1972) (SD, 1:57)
  • Hit Man (1972) (SD, 0:34)
  • Twilight People – Teaser (1972) (SD, 0:58)
  • Twilight People – Trailer (1972) (SD, 1:46)
  • Coffy – Teaser (1973) (SD, 1:00)
  • Coffy – Trailer (1973) (SD, 2:02)
  • Scream, Blackula, Scream! (1973) (SD, 2:02)
  • The Arena (1973) (SD, 2:48)
  • Foxy Brown – Teaser (1974) (SD, 1:04)
  • Foxy Brown – Trailer (1974) (SD, 1:53)
  • Bucktown (1985) (SD, 2:20)
  • Friday Foster (1975) (SD, 2:41)
  • Sheba, Baby (1975) (SD, 1:57)
  • Something Wicked This Way Comes (1983) (SD, 2:59)
  • Above the Law (1988) (SD, 1:22)
  • Original Gangsters (1996) (SD, 2:19)
• Pam Grier Radio Spots
  • Coffy (1:03)
  • Black Mama, White Mama (1:04)
  • Bucktown (0:58)
  • Friday Foster (1:04)
  • Sheba, Baby (1:04)
  • Scream, Blackula, Scream! (1:01)
  • Foxy Brown / Truck Turner Double Bill (1:03)
• Also from Lionsgate
  • Reservoir Dogs (HD, 1:45)

Blu-ray Copy of the Film

Digital Copy of the Film

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Summary:

Jackie Brown continues to shine, and it’s no surprise. One of Tarantino’s masterworks, this is a crime story rich with character and dialogue. It offers terrific performances, many memorable moments, and a fantastic sense of style. The 4K does not disappoint, applying a new remaster to make the film look better than ever, along with a sturdy, lossless track and many extras. This movie is excellent, one of the best of the 90s. If you’re looking for one cool 4K to own, accept no substitutes.

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