In Detroit, loner Clarence marries a call girl named Alabama, steals cocaine from her pimp, and tries to sell it in Hollywood. Meanwhile, the owners of the cocaine, the mob, track them down and try to reclaim it.
The story of the famous and influential 1960s rock band The Doors and its lead singer and composer, Jim Morrison, from his days as a UCLA film student in Los Angeles, to his untimely death in Paris, France at age 27 in 1971.
Mickey Knox and Mallory Wilson aren't your typical lovers - after killing her abusive father, they go on a road trip where, every time they stop somewhere, they kill pretty well everyone around them. They do however leave one person alive at every shootout to tell the story and they soon become a media sensation thanks to sensationalized reporting. Told in a highly visual style. Written by
The film was originally going to be shot in Panavision, as Oliver Stone's previous four films had been, but he decided that it should be framed in standard 1.85:1. The Panavision E-Series anamorphic lenses that had been reserved for the film were used to shoot The Pelican Brief (1993) instead. See more »
When Scagnetti is in the room with the prostitute, her bra keeps disappearing and re-appearing ("Director's Cut"). See more »
Do you have anything to say to your fans?
You ain't seen nothin' yet.
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The end credits are superimposed over a vast amount of stock footage, ranging from the future of Mickey and Mallory, stock A-Bomb tests, childhood photos of Mickey and Mallory, time-lapse footage, scenes from the movie, and so on. See more »
Gimmicky editing tricks can't disguise the fact that Oliver Stone has produced a dog of a movie that should rightfully be consigned to the bottom of some deep, deep ocean. Robert Downey Jr puts in a sub-par performance with an appalling Australian accent, Juliette Lewis' blond wig manages to out-act the starlet herself, and Woody Harrelson is... well, Woody Harrelson, as he has been and will be in every movie he has ever appeared in. The story of a husband-and-wife Serial Killer team who streak across Highway 666 leaving a trail of blood and destruction behind them, Natural Born Killers attempts to handle the intricate and fascinating issue of Media glorification of violence by beating the audience over the head with a sledgehammer (or some other,less subtle instrument). The response is roughly as expected, braindead audiences don't notice the difference, but those who appreciate cinema will be offended by Stone's ineptitude and lack of grace. Don't let your braindead friends tell you otherwise, this movie is about as intelligent as Troll 2. Natural Born Killers is best treated as a lesson to aspiring filmmakers, editing tricks should never substitute for a decent script.
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