Big Dreams, Bad Schemes, Good Intentions

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MOVIE REVIEW
Stealing Pulp Fiction
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Genre: Comedy
Year Released: 2025
Runtime: 1h 18m
Director(s): Danny Turkiewicz
Writer(s): Danny Turkiewicz
Cast: Jon Rudnitsky, Karan Soni, Cazzie David, Jason Alexander, Taylor Hill, Oliver Cooper
Where to Watch: available on digital platforms and in select theaters starting June 27, 2025. For more information, check out www.stealingpulpfiction.com

RAVING REVIEW: There’s something oddly satisfying about a film that knows it’s a little off the rails but moves forward anyway. That’s the curious energy pulsing through STEALING PULP FICTION—a scrappy heist comedy where ambition overshadows logic, and enthusiasm trumps expertise. It’s a knowingly disorganized story about people who adore cinema just enough to make the worst decisions possible. While not every aspect lands, there’s something enjoyable in watching it try.

The core plot focuses on a questionable idea hatched by two amateur cinephiles, Jonathan (Jon Rudnitsky) and Steve (Karan Soni). Their mission? Swiping a rare 35mm film print from a theater screening. It's a goal less rooted in strategy and more in obsession, particularly for Jonathan, whose inflated sense of film wisdom borders on delusion. He’s the kind of person who talks with confidence but rarely listens, charging forward with the belief that passion alone can substitute for planning. Steve, by contrast, is all loyalty and charm. Together, they make for an uneven but oddly endearing pair of would-be thieves.

Much of the film’s story is driven by their chaotic exchanges. Jonathan’s fast-talking arrogance bounces off Steve’s sheepish loyalty, forming a more codependent than collaborative dynamic. The tension shifts when Elizabeth (Cazzie David) joins the group, bringing a deadpan presence and an apparent immunity to Jonathan’s cinematic hero worship. She questions the plan, the motive, and even the source of their obsession, offering a much-needed counterpoint.

Then there’s Dr. Mendelbaum (Jason Alexander)—part therapist, part wildcard. Introduced as a straight-laced professional, he’s quickly revealed to be anything but. Working out of a karate dojo and offering more personal grievances than guidance, his transformation from reluctant bystander captures the film’s tone in microcosm. Alexander leans into the absurdity with an unhinged and oddly charming willingness. Mendelbaum doesn’t ground the story so much as he amplifies its offbeat nature.

What stands out is the deliberate throwback style. The movie adopts a retro lens—complete with dated aesthetics, title cards, and saturated tones—meant to evoke the feel of vintage cinema. There’s no denying the effort put into capturing a certain mood, though the commitment to style doesn’t always translate into depth. Spotting the nods and references is fun, but they rarely serve the story beyond recognizable winks.

A major turning point arrives when a fictional version of a well-known director enters the narrative. Seager Tennis plays the director with physicality and no restraint. The performance is more cartoon than impersonation, which makes it work. The choice to present him as an over-the-top caricature rather than a grounded character adds some spark to the film’s final act. It’s one of the few moments where the absurdity is embraced so fully that it finally pays off.

At times it reaches for satire, while at others it drifts into genuine character study. Unfortunately, it never fully commits to either. The comedy is scattershot—some jokes land, others struggle—and the dramatic threads are too undercooked to leave much impact. Yet there’s a sincerity to the project that makes it hard to dismiss. It’s not trying to be perfect—it’s trying to express something about identity, friendship, and how people cling to the things they love, even when those things make them act irrationally.

The more intimate moments reveal that beneath all the chaos lies a desire to be seen. Jonathan’s obsession feels less like admiration and more like insecurity masked as intensity. Steve’s affections bring out his softer side, grounding his performance with a bit of heart. Even Mendelbaum, despite the exaggerated antics, hints at loneliness beneath the laughter.

There’s an undeniable watchability to the whole experience. The cast delivers, even when the script doesn’t always support them. Rudnitsky brings an occasionally grating bravado to Jonathan, Soni’s understated charm helps to balance that. David easily delivers sharp comebacks, and Alexander steals nearly every scene he’s in.

STEALING PULP FICTION is not a genre-defining entry, nor does it reinvent the comedic blueprint. But it does offer an honest look at people who love movies a little too much and take themselves just seriously enough to get into trouble. It’s inconsistent, yes—but also playful, self-aware, and occasionally insightful. If nothing else, it is a tribute to every awkward cinephile who ever thought, “We could pull this off,” and meant it.

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[photo courtesy of TRIBECA FILMS]

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