Danny Turkiewicz's debut feature, \"Stealing Pulp Fiction,\" attempts to craft a self-aware heist comedy, but ultimately stumbles in its execution. What begins as a promising premise—a group of devoted Quentin Tarantino fans conspiring to swipe his personal 35mm print of \"Pulp Fiction\"—devolves into a disjointed narrative filled with inconsistent comedic timing and underdeveloped characters. Despite a soundtrack that consciously echoes Tarantino's signature style and playful musical references, the film's meta-textual ambition is largely superficial. Its reliance on constant allusions to the director's work often feels more like a crutch than a clever homage, preventing the story from establishing its own distinct identity or purpose. The production's comedic beats frequently miss their mark, signaled awkwardly by abrupt musical cues, undermining any intended humor.

A Misguided Cinematic Caper Unfolds

In a world saturated with film fanaticism, director Danny Turkiewicz brings us \"Stealing Pulp Fiction,\" a film that premiered online on June 24, 2025, and runs for a concise 78 minutes. The narrative introduces us to two inseparable friends, Jonathan (portrayed by Jon Rudnitsky) and Steve (played by Karan Soni), who initially appear in a diner booth setting, a scene deliberately reminiscent of the opening of Tarantino's own \"Pulp Fiction.\" These cinephiles, with Jonathan even donning an outfit akin to Tim Roth's character 'Pumpkin,' hatch an audacious plan to purloin Tarantino's private 35mm print of the legendary 1994 film. Their target: a specialized screening at a cinema owned by the acclaimed director himself.

The duo's initial motivation seems rooted in a deep love for cinema, particularly for their favorite director's work, as they envision establishing an exclusive, speakeasy-style movie theater. However, the film quickly veers off course, losing sight of this cinematic passion. The heist's true objective shifts to a purely financial gain, a move that feels jarringly out of sync with the characters' initial cinephilia. They enlist their sardonic friend, Elizabeth (Cazzie David), who, ironically, despises Tarantino's films, intending to burn her share of the proceeds—a decision whose long-term strategic value remains nebulous, highlighting the plot's tendency towards abrupt and seemingly improvised turns.

Further complicating the narrative, Jonathan and Steve share a therapist, the ineffective Dr. Mendelbaum (Jason Alexander). The plot takes an unexpected detour, introducing a secondary heist at Dr. Mendelbaum's office. This side quest, wherein Jonathan seeks information on a patient named Rachel (Taylor Hill), feels forced and detracts from the central premise. Despite its relatively short runtime, the film feels unfocused and unwieldy, struggling to maintain narrative coherence. While the on-screen chemistry between Rudnitsky and Soni provides occasional moments of genuine delight, suggesting a comfortable, long-standing friendship, their characters often appear to exist in different filmic realities—Soni's in a naturalistic mumblecore style, Rudnitsky's in a more stylized, action-oriented pastiche. This odd blend, surprisingly, doesn't hinder their rapport, yet their platonic bond, subtly hinting at queer undertones, is rarely challenged by the unfolding events.

The film consistently struggles to command a clear cinematic voice, resorting to a series of non-committal scenes and gags. The camera work is largely static and unobtrusive, contributing to the overall lack of dynamism. It's only when the actual heist commences at Tarantino's cinema, as Jonathan and Steve attempt to infiltrate the projection booth, that the film finds a flicker of its intended energy. This brief surge reveals that \"Inglourious Basterds,\" with its edgier, bloodier, and theater-centric narrative, might have been a more suitable thematic inspiration than \"Pulp Fiction,\" though this connection is only fleetingly and disjointedly made.

Ultimately, \"Stealing Pulp Fiction\" fails to build and sustain momentum, a consequence of its heavy reliance on a plethora of references without substantial original content. The constantly shifting themes and foci result in a lack of character depth, making it difficult for the audience to invest in their internal world or shared humor. Whether the film aims to explore the significance of cinema in their lives or the nuances of their friendship, no singular idea is developed enough to deliver a satisfying payoff. This fundamental flaw would undermine even the most polished comedy or meticulously planned heist film, let alone one aspiring to be both.

From a critical perspective, \"Stealing Pulp Fiction\" serves as a poignant reminder that homage, when overdone or poorly integrated, can become a burden rather than a tribute. The film's ambitious attempt to riff on Quentin Tarantino's distinctive cinematic language highlights a crucial lesson for aspiring filmmakers: genuine creativity and a coherent narrative vision are paramount, even when drawing inspiration from iconic works. While the idea of a heist film revolving around cinematic obsession holds considerable appeal, its execution requires far more precision in character development, plot structure, and comedic timing. This movie’s fragmented nature and reliance on surface-level references inadvertently underscore the genius of the very films it tries to emulate, demonstrating that true artistry lies not just in recognizing influence, but in transforming it into something new and compelling. For audiences, it becomes an exercise in decoding scattered allusions rather than engaging with a fresh, cohesive story, ultimately leaving one to ponder the lost potential of an initially intriguing concept.