‘Stealing Pulp Fiction’ Review – A Quirky Love Note To Tarantino And His Celebrated Film

In many ways, there is pre-Pulp Fiction cinema and then post-Pulp Fiction cinema. The use of non-linear storytelling, punchy dialogue, and soundtrack, all under the umbrella of independent cinema, changed the game. Inspirational across genres and imitated to the point of parody, Pulp Fiction earned its place in movie history and serves as a turning point for creative and bold storytelling that would define the 1990s and beyond. Enter the film Stealing Pulp Fiction, which goes beyond spoofing the quintessential Tarantino film and offers both praise for the classic movie and a unique yarn in its own right.

“The path of the righteous man is beset on all sides by the inequities of the self.” Two buddies and film aficionados, Jonathan (Jon Rudnitsky) and Steve (Karan Soni), aspire to craft a get-rich-quick scheme. Thanks to their love of film, they take inspiration for a grand heist after watching Pulp Fiction at Quentin Tarantino’s own theater. They will steal Pulp Fiction, but not just a print — a 35mm belonging personally to Tarantino. What begins as a simple heist becomes a comedy of errors. Joining Jonathan and Steven is Elizabeth (Cazzie David), and their eccentric therapist (Jason Alexander) on this colorful adventure that becomes a cheeky embrace of Tarantino’s film.

Director/writer Danny Turkiewicz pulls no punches from the start of this film. Turkiewicz shows us his love for the film and Tarantino’s work, from the diner locale to the witty banter between Jonathan and Steve. Fans of Tarantino will marvel at this romp. There are nods and references, but never in a forced way. It would have been easy to make the characters copy-and-paste rip-off versions of the movie characters. Still, the effort to make us, the audience, care about this quirky pack adds a whole level of royál with cheese.

The characters are comfortable with themselves. Jonathan is the schemer who secretly pines for Rachel (Taylor Hill), a patient in his therapist’s office. Steve is the cautious planner and a hopeless romantic, and Elizabeth is the voice of reason. Her presence is for the detractors of Tarantino, which I found to be a nice touch. Interestingly enough, a subtle channeling of Mia Wallace in her character makes this entire exercise hilarious and a meta-commentary. Even Tarantino (not the real deal) appears in the film to pursue the guys after they make good on their deal to steal the 35mm print. It is far from a fully realized impression or imitation, but it embellishes the story with a bounce that cannot help but leave you smiling.

Ultimately, the film becomes a charming send-up of Pulp Fiction. Stealing Pulp Fiction prides itself on, yes, being a love note to the famous director, but by using a lot of his rhythm and style to tell its own story. The use of Chapters, a common motif in a Tarantino film, is here in this one. Along with cross-cutting chummy banter, this movie has a tremendous energy that one cannot help but vibe with. 

Some may be disappointed in the lack of a full embrace of Tarantino’s style, which is why this is better referred to as a love note than a love letter. The short runtime fails to give the movie adequate weight. Fortunately, the characters are interesting in their own right, leaving us wanting more than what we received. That is especially true of Jason Alexander, who adds his comedic timing to the quasi-world of Tarantino to significant effect.

The movie hinders itself by not going full Tarantino. There is no stylized and expletive-filled violence or wholly memorable morally grey characters, but still, Stealing Pulp Fiction gives us a pleasant trip through LA. However, it may not be enough to break our full concentration on forgetting the real deal. 

Stealing Pulp Fiction will debut in select theaters and on digital platforms on June 27, 2025, courtesy of Tribeca Films.