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.
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
In an infamous incident after the film had been released, Oliver Stone and Time Warner were sued by Patsy Byers, with the support of author and Producer John Grisham. In March 1995, eighteen-year-old Sarah Edmondson and her boyfriend Benjamin Darras (also eighteen) allegedly dropped acid and watched this movie. Later that night, Sarah shot and paralyzed Byers, a store clerk in Ponchatoula, and Benjamin killed cotton gin Manager William Savage in Hernando, Mississippi. John Grisham was a personal friend of Savage's, and after the murder, Grisham publicly accused Oliver Stone of being irresponsible in making the film, arguing that filmmakers should be held accountable for their work when it incites violent behavior. Byers decided to take legal action against Stone and the studio, and supported by Grisham, she used a "product liability" claim in the lawsuit, which argued that Stone had incited the teenagers to commit the crime. Initially, the case was dismissed in January 1997, on the grounds that filmmakers and production companies are protected by the First Amendment. However, in May 1998, the Intermediate Louisiana Court of Appeals overturned the lower court's decision, and the case went ahead. The attorneys for Byers' attempted to prove that Oliver Stone and Time Warner were culpable in the murder and in Byers' injury because they had purposefully meant to incite violence by "distributing a film they knew, or should have known would cause and inspire people to commit crimes." All of Hollywood eagerly awaited the outcome of the trial, because if Stone was found guilty, it would mean a drastic reexamination of the industry practices and would carry all kinds of far reaching implications as regards the content of movies. However, in a landmark decision, Byers' action was thrown out of court in March 2001, and its dismissal was rubber-stamped by the Louisiana Court of Appeal in June 2002. See more »
Blood from a previous take is visible on the wall before the blood splatters on it when the cook is shot. See more »
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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