The epic adventures of the legendary Baran the Bandit following his release from prison. After serving 35 years, it is no surprise that the world has changed dramatically. Still, Baran ... See full summary »
Armed with a licence to kill, Secret Agent James Bond sets out on his first mission as 007 and must defeat a weapons dealer in a high stakes game of poker at Casino Royale, but things are not what they seem.
A drama based on an ancient Chinese proverb that breaks life down into four emotional cornerstones: happiness, pleasure, sorrow and love. A businessman bets his life on a horse race; a gangster sees the future; a pop star falls prey to a crime boss; a doctor must save the love of his life.
Sarah Michelle Gellar,
Hardened criminal Maggie Hayward's consistent violence, even in police custody, ends in the execution chamber. However, top-secret US government agent 'Bob' arranges a staged death, so ... See full summary »
The misadventures of Mickey and Mallory: outcasts, lovers, and serial killers. They travel across Route 666 conducting psychadelic mass-slaughters not for money, not for revenge, just for kicks. Glorified by the media, the pair become legendary folk heroes; their story told by the single person they leave alive at the scene of each of their slaughters. Written by
Murray Chapman <email@example.com>
The unique look of the film was based upon Arthur Penn's Bonnie and Clyde (1967), one of director Oliver Stone's favorite movies. In particular, Stone was influenced by the famous death scene, which used innovative editing techniques provided by multiple cameras shooting from different angles at different speeds. Stone had used similar, although considerably more restrained, techniques in his previous two films JFK (1991) and Heaven & Earth (1993), and would continue to employ these techniques for his next two films, Nixon (1995) and U Turn (1997). See more »
Leading up to the Super Bowl the number of victims that Mickey and Mallory murder change several times from fifty six to fifty seven to forty eight and other numbers in the deleted scenes and unrated cut. This might have been done deliberately by the film makers to give the killers the larger than life pop lore they wanted. See more »
[after beating the hell out of the guy at the diner]
How sexy am I now, huh? Flirty boy! How sexy am I now?
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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 »
Tiresome, overwraught garbage with a largely solid cast.
How on earth Stone can be regarded as a worthy director after this drivel is beyond me. Perhaps people are tricked into adoration by Stone's hyperactive camerawork. 8mm, 16mm, animation-- they're all deployed without rhyme or reason, except perhaps that Stone is suffering from ADHD and can't bear to have one medium on the screen for longer than five minutes at a time. Why does the waitress at the start of the movie get shot in black and white, with a big freeze-frame and operatic scream? What does that MEAN? A film student could go crazy trying to analyse this mess.
In fact, the only one of Stone's ideas that actually works on either a satirical or purely visual level is the sit-com section, where Mallory's sexually abusive father (Rodney Dangerfield, in a genius spot of casting) is treated to laughter and acceptance, rather than derision, from the canned audience. But that, too, is heavy-handed and plays on for far too long.
The most depressing thing about the entire film is that there really IS a solid, interesting satirical point to be made about the relationship between criminals and the media, and had this film embraced it fully, it could have been a genuine classic. As it is, it's a showreel for indulgent, mindless direction.
If you want to watch a movie which satirises the relationship between a serial killer and the media more successfully (and also manages to be funny!) rent Man Bites Dog.
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