In Detroit, a lonely pop culture geek marries a call girl, steals cocaine from her pimp, and tries to sell it in Hollywood. Meanwhile, the owners of the cocaine - the Mob - track them down in an attempt 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
Owen (Arliss Howard), the inmate that helps Mickey and Mallory out of the prison, is shown in the first scene. He is at a table reading a newspaper that reads "666 death". He is only shown for a second. He is also seen in the prison as Wayne Gale (Robert Downey, Jr.) tells Warden McClusky (Tommy Lee Jones) how famous he could become; Owen is mopping the floor behind them as they walk past a cell. See more »
During the wedding scene, as Mickey takes Mallory's hand to cut it, her palm is already red from having blood on it in previous takes. See more »
It's fate, you know. Nobody can stop fate, nobody can.
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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 »
Young lovers go on a killing spree, glorified by the media. The opening scene is so over-the-top that one expects the movie proper to start thereafter with some sense of coherence and narrative flow but it never comes. In fact, it soon goes downhill with a cheesy sitcom sketch that is meant to be clever but falls flat. This is perhaps the worst movie ever made by an Oscar-winning director, as Stone is at his self-indulgent worst, utilizing such cheesy tricks as tilted camera angles, random use of black and white cinematography, movies playing in the windows of houses, and animation. Combine all that with abhorrent violence and a pointless script and you have a film that is unwatchable.
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