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Guncrazy (1992) More at IMDbPro »

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Guncrazy -- A trashy teen murders her sexually abusive step-father, then helps get her reformed prison pen-pal released on good behavior so that she can re-corrupt him.


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Writer (WGA):
Matthew Bright (written by)
View company contact information for Guncrazy on IMDbPro.
Release Date:
9 September 1993 (Australia) See more »
Love made them crazy. Guns made them outlaws.
A trashy teen murders her sexually abusive step-father, then helps get her reformed prison pen-pal released on good behavior so that she can re-corrupt him. Full summary » | Add synopsis »
Plot Keywords:
Nominated for Golden Globe. Another 1 win & 1 nomination See more »
User Reviews:
Crazy is the Female See more (19 total) »


  (in credits order) (verified as complete)

Drew Barrymore ... Anita Minteer
Robert Greenberg ... Mr. Sheets
Rodney Harvey ... Tom

Jeremy Davies ... Bill
Dan Eisenstein ... Chuck

Joe Dallesandro ... Rooney
Willow Tipton ... School Girl

James Le Gros ... Howard (as James LeGros)

Ione Skye ... Joy

James Oseland ... Sally
Thomas E. Weyer ... Guard

Billy Drago ... Hank Fulton
Tom Smith-Alden ... Parole Officer #1

James Wheaton ... Parole Officer #2
Gerald Lynn Walker ... Parole Officer #3
Ida Lee ... Parishioner
Lawrence Steven Meyers ... Crazy Larry
Herb Weld ... Clyde
Lee Mary Weilnau ... Susan

Michael Ironside ... Mr. Kincaid
Dick Warlock ... Sheriff
Neal Jano ... Patient

Jaid Barrymore ... Woman with Dog

Tracey Walter ... Elton (as Tracy Walter)
Roger Jackson ... Joe
Sally Norvell ... Waitress

Paul Janossy ... Man at Mall
Billy Bates ... Officer at Fountain
Zane W. Levitt ... Ed Hopper

Leo Lee ... Soda Pop
Rowena Guinness ... Ruby the Prostitute
Harrison Young ... Howard's Dad
Diane Firestone ... News Reporter

Michael Franco ... Officer Frank
Ray Bickel ... Officer with Bullhorn (as Ray Bickle)
Damon Jones ... Damian (as Damon R. Jones)
Diamond ... Schlitzy the Dog
rest of cast listed alphabetically:
William L. Nagle ... Tow Truck Driver (uncredited)

Directed by
Tamra Davis 
Writing credits
Matthew Bright (written by)

Produced by
Diane Firestone .... producer
Zane W. Levitt .... producer
Alison Stone .... associate producer
Mark Yellen .... co-producer
Original Music by
Ed Tomney 
Cinematography by
Lisa Rinzler 
Film Editing by
Kevin Tent 
Casting by
Tolley Casparis 
Kim Davis-Wagner 
Production Design by
Abbie Lee Warren 
Art Direction by
Kevin Constant 
Set Decoration by
Rafael Tapia 
Costume Design by
Merrie Lawson 
Makeup Department
Lori Jean Swanson .... key hair stylist
Lori Jean Swanson .... key makeup artist
Randy Westgate .... special makeup effects artist
Production Management
Mark Yellen .... unit production manager
Second Unit Director or Assistant Director
BJ Davis .... second unit director
Lynette Goto .... second assistant director
Bob Kay .... second assistant director
Julia A.F. Kovisars .... second assistant director
Rod Smith .... first assistant director
Art Department
Rob Shepps .... set dresser
Dennis Sugasawara .... property master
Leora Tobias .... production designer: reshoots
Sound Department
Tom Amelotte .... adr editor
Tom Amelotte .... sound re-recording mixer
Joe Barnett .... foley mixer
Todd Herman .... adr editor
Anthony Marc Liali .... boom operator
Sean Macias .... foley artist
Sharon Michaels .... foley artist
Daniel D. Monahan .... sound mixer
Bruce Murphy .... stereo sound consultant: Ultra
Scott Smith .... dialogue editor
William Smith .... pre-dubbing mixer
William Smith .... sound re-recording mixer
Daniel W. Victor Jr. .... ultra stereo consultant
Jeffrey R. Whitcher .... sound effects designer
Jeffrey R. Whitcher .... sound effects editor
Special Effects by
John C. Hartigan .... special effects
Paul Hickerson .... special effects
Beverly McLeish .... special effects
Billy Bates .... stunts
Ray Bickel .... stunts
Chuck Borden .... stunts
Eddie Braun .... stunts
George B. Colucci Jr. .... stunts
BJ Davis .... stunt coordinator
Cole S. McKay .... stunts
Don Pike .... stunts
Gary Pike .... stunts
Jon Conrad Pochron .... stunts
Jerry Spicer .... stunts
Camera and Electrical Department
Mike Barker .... first assistant camera
Patrick Barry .... key grip
Rob Copeland .... cinematographer: second unit
Robert L. Ferguson .... best boy electric
Ted Hayash .... gaffer
Dan Hertzog .... camera intern
Paul Janossy .... second assistant camera
Kassa .... still photographer
Troy Smith .... Steadicam operator
Troy Smith .... cinematographer: second unit
H. Niels van Nood .... best boy grip
Casting Department
Andrea Curtis .... casting
Editorial Department
Kevin Muir .... apprentice editor
David Parmenter .... negative cutter
Theo Waddell .... first assistant editor
Chuck Winston .... color timer
Music Department
Carol Sue Baker .... music supervisor
Xavier Du Bois .... music supervisor
Transportation Department
Peter Sebring .... transportation coordinator (as Pete 'The Heat' Sebring)
Other crew
Gina Brockett .... snake wrangler
Jim Brockett .... snake wrangler
Deanna Esmaeel .... animal trainer
David Halver .... making-of documentary
Marie Lamotte .... script supervisor
Liz McDermott .... production executive
Nikki Palmer .... publicist
Greg Richards .... key production assistant
Scott Rosencrans .... location manager
Cid Swank .... unit publicist
Linda Warrilow .... production coordinator

Production CompaniesDistributorsSpecial EffectsOther Companies

Additional Details

Also Known As:
Rated R for strong violence and sensuality, and for language
97 min
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Filming Locations:

Did You Know?

The gun Anita gives Howard is an M1911 Colt, or one of a million 1911 "clones" using the same design. She claims that it is a 9mm. While there are 9mm versions of this gun commercially available (the Star Model BM, for example), it is most commonly found in .45 ACP or .38 Super.See more »
Movie Connections:
Referenced in Clerks. (1994)See more »
PAINTSee more »


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3 out of 10 people found the following review useful.
Crazy is the Female, 5 August 2005
Author: Andy (film-critic) from Bookseller of the Blue Ridge

I am always excited to see the darkness of cinema's past, but continually happy with its progress and evolution over the years. If the genre displayed in Guncrazy would have remained throughout the cinematic years, I think I would have had to choose a different hobby other than film. Here we have a very gritty, very disturbing film, which just never seems to leave the hangar. I continually felt that Guncrazy was this grounded plane never geared for takeoff, which was disappointing because several times it seemed as if it was ready for lift-off. Director Tamra Davis has her work cut out for her on this picture. It surprised me that the woman who brought us Billy Madison, Half-Baked, and Crossroads would dare dabble in a project like this … yet she did, and I don't think that she succeeded. Matthew Bright, the guy who brought us Freeway, has a very crafted story, but I believe that it is Davis' direction, coupled with disappointing acting that ultimately destroys this film.

Think about this for a minute. When you are directing a film of this caliber, you as a director need to realize that it is more than just a story about sexual teens and violence, but instead a haunting image of our world, culture, and society. As I watched this film, I couldn't help but see (and sometimes hear) Bright's angst-ridden voice about our society trying to come through, but it felt that Davis was pushing that aside in hopes to give Drew more screen time. We kept scratching on the surface of guns and violence, but never quite dug deep enough. There was so much that should have happened with this story, that Bright's words were completely ignored and left for Davis to butcher. I believe that if Bright would have manned this project, we may have seen stronger characters, deeper emotions and themes, all the while exposing truths about our society. These were elements that were lacking considerably in this film. While it is said that Davis tried to avoid making a remake of Crazy is the Female, I believe that the older film spoke more about society than this film did. Davis covered up truths and intelligence with overly clichéd shock moments coupled with silly, incoherent violence.

With Davis practically missing the mark behind the camera, this left nothing for the actors. Barrymore decently tries to fill the shoes of this innocent 17-year old that only wanted love and would do anything for it, but the lacking chemistry between her and LeGros overshadows her performance. I felt as if Davis could only afford a portion of LeGros for this film and most of the time he was replaced with a cardboard cut-out of himself. He gave no emotion to his character. I realize that he was to show how corrupt the world had been to him, but does that mean he cannot smile, frown, show fear, excitement, hatred, distrust, love, or any range of emotions that come with being an actor. LeGros hurt this film. Typically, I like his performances, but I don't think he was ready, nor did it seem that he really wanted this role. This hurt the foundation of the film. Here we have Barrymore giving a decent performance, but LeGros doesn't hold up his end of the bargain, which ultimately hurts any support that we have for our heroines.

While I sternly believe that Davis destroyed the overall tone of the film and LeGros' cardboard image impeded any connection with Barrymore, there were some scenes that I thought Bright exceptionally wrote into this film. My favorite scene in the entire film was when Anita and Howard were together at the house living a life that could never be theirs. It was so interesting to see these two victims of poverty living, breathing, and experiencing a physically imaginative world. Then, a pivotal changing moment in the film occurs and it really places this film into a different perspective. I wasn't expecting this type of change in the film, and it really showcased what Bright was trying to accomplish. Another scene that I enjoyed occurred right before this monumental scene, when Hank is just about to be arrested by his parole officer. He screams down the hall of the hospital, and all Anita responds with is, "What's he yellin' about now?" This shocked me because it completely tore down any barriers that I thought I already knew about Anita and Hank's relationship. Was there a level of comfortability settling in with the relationship? Interesting turn, which captured my attention. Sadly, the remaining scenes were just a flagrant disrespect to Bright's darkening talent.

Overall, I wasn't impressed with this film. I strongly suggest it to those who are big Matthew Bright fans, but we forewarned this is not as exceptional or as shocking as Freeway was. This was a film completely chastised by Tamra Davis and James LeGros. Barrymore decently carries herself, a la Reese Witherspoon in Freeway, but it just doesn't come together smoothly. The overall tone and elements are completely missing as Davis implements increasing scenes of shock value instead of stronger elements of society. It is difficult to watch, not because of what occurs in the film, but because of the lack of direction, acting, and overall momentum. The final result seems more like a cheaply tailored small tuxedo on a very large man. It covers the wrong spots. Skip it. You will live life happier.

Grade: ** out of *****

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