100

Chicago Sun-Times

By Roger Ebert
You savor every moment of Jackie Brown. Those who say it is too long have developed cinematic attention deficit disorder. I wanted these characters to live, talk, deceive and scheme for hours and hours.
Full Review
78

Austin Chronicle

By Marc Savlov
It's a straight-ahead caper flick, very cool, and very, very Seventies (although it takes place in 1995), from production and costume design on down to the soundtrack.
Full Review
75

Christian Science Monitor

By David Sterritt
Its greatest assets are imaginative camera work and top-flight performances from Pam Grier as the heroine, Samuel L. Jackson as the deadly boyfriend, and Robert Forster as the bail-bondsman who falls battily in love with her.
Full Review
75

The Globe and Mail (Toronto)

By Rick Groen
Happily, the climax races to our rescue... Beyond the grasp of most directors, this is tour de force stuff -- definitely meriting the price of admission and almost worth the three-year wait.
Full Review
75

USA Today

By Mike Clark
Between Jackson's opining and De Niro's hopeless alibis when he messes up, Jackie is good for a bundle of bloody ho-ho-hos.
Full Review
75

Entertainment Weekly

By Owen Gleiberman
Each scene is staged methodically, overdeliberately, as if it concealed some payoff zinger. But the zingers don't arrive. All we see is a reasonably clever Elmore Leonard caper that needed to be treated as fast, trashy fun.
Full Review
75

ReelViews

By James Berardinelli
Tarantino keeps things moving along nicely, with a heavier dose of humor and less violence than in Pulp Fiction, but, on the whole, this movie seems more like the work of one of his wannabes than something from the director himself.
Full Review
70

Film Threat

By Ron Wells
Quentin actually made a REAL movie, with believable characters and performances, rather than just repositories for clever dialog.
Full Review
60

TV Guide

By Maitland McDonagh
The giddy, "anything could happen" sense that made "Pulp Fiction" and "Reservoir Dogs" so viscerally exciting is missing here. But Tarantino's first picture in nearly three years is a faithful adaptation of Elmore Leonard's "Rum Punch," and its melancholy edge is a wistful delight.
Full Review
50

San Francisco Chronicle

By Mick LaSalle
The slow pace kills the sense of urgency, and the length and breadth of the film makes the story seem insignificant. Tarantino is still someone to watch, but Jackie Brown, before it's over, becomes a who-cares proposition.
Full Review
64 out of 100
Generally favorable reviews
Metascore® based on all critic reviews. Scores range from 0 to 100, with higher scores indicating more favorable reviews.