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Natural Born Killers (1994)

 -  Crime | Drama  -  26 August 1994 (USA)
7.3
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Ratings: 7.3/10 from 141,960 users   Metascore: 74/100
Reviews: 568 user | 123 critic | 20 from Metacritic.com

Two victims of traumatized childhoods become lovers and psychopathic serial murderers irresponsibly glorified by the mass media.

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Writers:

(story), (screenplay), 2 more credits »
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Nominated for 1 Golden Globe. Another 3 wins & 4 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
...
...
...
Ed Wilson, Mallory's Dad
Everett Quinton ...
Deputy Warden Wurlitzer
...
London Boy
...
Deputy Warden Kavanaugh
...
Mallory's Mom
...
Lanny Flaherty ...
Earl
...
Mabel
...
...
Sonny
...
...
Pinball Cowboy
Edit

Storyline

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 <muzzle@cs.uq.oz.au>

Plot Summary | Plot Synopsis

Plot Keywords:

media | murderer | violence | killer | satire | See more »

Taglines:

A bold new film that takes a look at a country seduced by fame, obsessed by crime and consumed by the media. See more »

Genres:

Crime | Drama

Motion Picture Rating (MPAA)

Rated R for extreme violence and graphic carnage, for shocking images, and for strong language and sexuality | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

| |

Release Date:

26 August 1994 (USA)  »

Also Known As:

Asesinos por naturaleza  »

Filming Locations:

 »

Box Office

Budget:

$34,000,000 (estimated)

Gross:

£3,923,239 (UK) (17 March 1995)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (director's cut)

Sound Mix:

Color:

| (Technicolor)

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

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 »

Goofs

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 »

Quotes

[after beating the hell out of the guy at the diner]
Mallory: How sexy am I now, huh? Flirty boy! How sexy am I now?
See more »

Crazy Credits

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 »

Connections

References Death Wish 3 (1985) See more »

Soundtracks

Back in Baby's Arms
Written by Bob Montgomery
Performed by Patsy Cline
Courtesy of MCA Records
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

Tiresome, overwraught garbage with a largely solid cast.
24 September 2002 | by (Hull, England) – See all my reviews

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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