Most critics agree that Jackie Brown is a slower, warmer film than Tarantino had made before, and they part company on whether that is a virtue. The praise clusters on the cast: Pam Grier’s flight attendant is singled out almost everywhere, and Robert Forster’s bail bondsman nearly as often, with several reviews calling their tentative romance the film’s centre. The unhurried character work, the funk and soul soundtrack and the faithful handling of Elmore Leonard’s Rum Punch are the other recurring strengths. The reservations cluster on pace and length. Variety finds it too long and short on the snap of earlier Tarantino; The New York Times calls it talky and sluggish; the Los Angeles Times finds it easygoing but far from compelling; Total Film puts it at nearly forty-five minutes over. The spread is fairly wide, from warm admiration to mild disappointment, with no outright dismissals. The later reviews are kinder than the first-run ones, reading the middle-aged regret as the point rather than a slackening.
The critic praises the film as proof that Tarantino is the real thing, highlighting its smart characters who must outthink each other and the rich texture of dialogue and situations over plot mechanics. He singles out the strong casting, especially Pam Grier and Robert Forster, and the affectionate, unhurried character work.
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