Natural Born Killers (1994) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error Two victims of traumatized childhoods become lovers and psychopathic serial murderers irresponsibly glorified by the mass media. Director: From $2.99 (SD) on Amazon Video ON DISC a list of 32 titles created 10 Apr 2012 a list of 39 titles created 18 Nov 2012 a list of 28 titles created 05 Feb 2013 a list of 34 titles created 28 Jan 2014 a list of 34 titles created 25 Jan 2015 Title: Natural Born Killers (1994) 7.3/10 Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Nominated for 1 Golden Globe. Another 5 wins & 8 nominations.

See more awards » Videos 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. Director: Tony Scott Two criminals and their hostages unknowingly seek temporary refuge in an establishment populated by vampires, with chaotic results. Director: Robert Rodriguez A middle-aged woman finds herself in the middle of a huge conflict that will either make her a profit or cost her life. Director: Quentin Tarantino Two separate sets of voluptuous women are stalked at different times by a scarred stuntman who uses his "death proof" cars to execute his murderous plans. Director: Quentin Tarantino After an experimental bio-weapon is released, turning thousands into zombie-like creatures, it's up to a rag-tag group of survivors to stop the infected and those behind its release.

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Director: Oliver Stone A gunslinger is embroiled in a war with a local drug runner. Director: Robert Rodriguez Edit Storyline 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 garykmcd In the media circus of life, they were the main attraction. 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: 26 August 1994 (USA) See more » Also Known As: Asesinos por naturaleza See more » Filming Locations: Did You Know?

Trivia Scagnetti's ( Tom Sizemore ) story about how his mother was killed was based upon a real life incident involving one of America's first mass murderers, Charles Whitman , who did actually shoot people randomly from the University Tower in Austin, Texas, in 1966. See more » Goofs No human can take such a repeated and concentrated dose of Mace as Mallory does and open their eyes so soon afterward, not to mention Mallory's eyes open quite easily and do not shut during the spray. Mallory also doesn't apply any water to her eyes, and seems to recover naturally only minutes later. This is one of many scenes which are supposed to be stylized and unrealistic. See more » Quotes Wayne Gale : So tell me Mickey? Any regrets? I mean, three weeks, fifty people killed... not too cool Mickey. Mickey : Fifty-two, but I don't a lot of time with regret. That's a wasted emotion. Wayne Gale : Seriously you must have some regret. Rack your brain. Mickey : Well, I wish that Indian hadn't got killed. Mallory : [archive footage of the Indian's death] Bad, bad, bad, bad, bad!

Wayne Gale : [looks at some files] One of your last victims. Mickey : Man had a rattlesnake in the corner... 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 (United States) – See all my reviews ...people really need to take another look at "Natural Born Killers." The plot: Mickey and Mallory Knox (Woody Harrelson and Juliette Lewis in roles that are a little too convincing) are a husband/wife pair of serial killers whose vicious crime spree across the country has made them into media superstars. This movie is a barrage of frightening and surreal images, and is damn near hypnotic to watch. I can see where the controversy surrounding this film comes from but what I don't understand is where the hate is coming from. 1994's "Natural Born Killers" has to be one of the best movies of the 90s - its sole purpose on this planet is to showcase America's fascination with violence.

But lets try to understand the hate. This movie is here for one reason and I think that we can all agree on that reason. Oliver Stone is a competent and accomplished filmmaker and most of the hate seems to be directed towards him. Stone, who is working from a script that has since been virtually disowned by Quentin Tarantino, pretty much took over and shaped the screenplay to his own vision. I can understand why fans of Tarantino have a right to be p*ssed off, but I find it extremely difficult to believe that they truly hate the finished product, and the same goes for Tarantino. Don't get me wrong, I'm a huge Tarantino fan myself, and I'm sure he didn't appreciate Stone re-writing his script, but he should be proud of what was done with it. The message, if you can call it that, is that we are obsessed with violence, and Stone exposes our love for it and spits it back in our faces. To quote Marlon Brando - "The horror, the horror." I say to hell with the hypocritical people who find this movie offensive for they are the ones that this movie is truly aimed towards.

Yes, horrific images are displayed in this movie and terrible things happen to people all throughout, but it's giving us we want, and we hate it. The hate surrounding this film is extremely misguided. My high school paper recently did an article about sex and violence on television and one of the supposed outlets of that violence would be our fascination with the war in Iraq and the Jessica Lynch story. It said that we are much, much more concerned with the sex (I personally don't think today's teenage girls are THAT impressionable, but who knows?), rather than the violence (which apparently seems to be causing a misguided sh!tstorm of controversy, too, and like the sex, I don't think that people are that impressionable), namely the kind that is seen in music videos and such. Though the article refused to go into specifics (but we know who the people being discussed are and I'm sure they do, too), it brings me back to "Natural Born Killers," which I think people need to take another look at. In this day and age, violence on television is becoming more and more commonplace, and this movie's relevance seems to make its viewing that much more important.

Before we go and continue to bash the hell out of it again, people need to come back and take a look around themselves and watch "Natural Born Killers." 153 of 205 people found this review helpful. Was this review helpful to you? Yes View All Critic Reviews (35) Audience Reviews for Natural Born Killers One of the most controversial films of the past twenty years, "Natural Born Killers" incited a frothy debate on the role of violence in mass media, and how it affects young children. The actual controversy surrounding the film included a lawsuit that stated that the film had incited violence by showing satirized depictions of violence, going against the actual point of the film. The original screenplay was by Quentin Tarantino, though later bought and heavily changed by Oliver Stone and his collaborators, though the inspiration is still very clear. The film stars Woody Harrelson and Juliet Lewis as mass murderers who are also a couple, the story taking heavily from the exploits of Starkweather, the beating of Rodney King, and sensationalized news coverage. Their story, while seeming out of this world strange, is memorable for its proximity to true American crime stories, and the media coverage that did surround them.

Robert Downey Jr. plays an Australian reporter with a crime TV show (a la Geraldo Rivera) who gets way too into the story he is reporting on, and finds it all very exciting rather than horrifying. It's a scathing indictment of the media, and their inability to show murder and violence without a bit of excitement, maybe even envy. There's this gross, almost pseudo-erotic tendency that crime shows have towards their subject matter. Everything has to be pulse thumping and exploitative, even though these are real people dying. Besides its core message, this film is also amazing for its shocking use of parody, sex, and violence. Though the events in the film can be the basis for an action film, it's framed so that you feel queasy, that you see the grotesque of society while also seeing inside the minds of these killers. This film is riveting, gross, and bloody, while also being insightful. Spencer S. Super Reviewer This is Oliver Stone's masterful, hallucinatory, stylish, surreal, and biting satirical look at mass murderers and the media/folk culture surrounding them.

It was somewhat inspired by the story of Charles Starkweather, whose life also influenced Terrence Malick's debut Badlands. Loosely based on a story by Quentin Tarantino, what we get here is the saga of Mickey and Mallory Knox- a pair of mass murderers who rampage across the American Southwest before getting imprisoned, where they somehow still manage to get their (violent) kicks. All the while the media hones in on them, making them out to be veritable folk heroes, with the main media figure being slimy Aussie television journalist Wayne Gale. On the other side of the story are determined detective Jack Scagnetti who is almost as psychos as the people he's after, and prison warden Dwight McClusky who just relishes the idea of being able to bring Mickey and Mallory to the reaper. This is a wild, sometimes messy, and always over the top film that is all over the place, but definitely makes an impression. It's kinda hard to pin this film down, but, even if you don't agree with the message of how it's done, you can't deny that this film is worth seeing and discussing.

It's one of those bitter and scathing satires, but there's also a darkly comedic undercurrent going on. I'll admit that this is a disturbing film, but there is a point to it, and it's done with intelligence. Woody Harrelson and and Juliette Lewis are terrific as Mickey and Mallory, Robert Downey Jr. is a delight as Wayne Gale, Tommy Lee Jones is a gloriously scenery chewing delight as Dwight McClusky, and Tom Sizemore is kidna scary as Scagnetti. This film also features Rodney Dangerfield's only dramatic turn as Mallory's sleazy abusive dad. The film is shot almost exclusively in Dutch angles using a variety of formats including, color, black and white, animation, super 8, 16, and 35 mm film stocks, and a whole lot more. It's all done to add style, but also substance, and its all discussed by Stone at length on the commentary track. Or you could just read about it online if you'd prefer. From a technical perspective, this film is a dizzying and ambitious marvel.

It's perhaps pretentious, and naysayers will call it overbearing, but I think it's all part of the overall experience. The soundtrack is likewise suitably manic and eclectic, and one of my favorites. All in all, this is a landmark of 90s cinema and a film you should definitely see. Chris Weber ‎Natural Born Killers (1994) directed by Oliver Stone • Reviews, film + cast • Letterboxd Review by Hollie Horror 19 I am having trouble coming up with a proper rating when it comes to this revisit of Natural Born Killers. I have a fairly long history with the movie. At 12 years old I was allowed to watch almost any movie I wanted but because NBK received a lot of media attention for this "controversial" film my Mom put her foot down this one time and said that I was not allowed to watch Natural Born Killers despite my best attempts at being charming or whiny. Not long after.. my older sister wanted to have a party while our parents were away and I decided it was the perfect time for a little blackmail. My silence cost one video rental… 7 At a glance, Natural Born Killers has the potential to mislead.

What seems like a full-blooded thriller packed with gratuitous brutality is in fact more profound; more intelligent than what its exterior and hateful critics may imply. It's personality is satirical, predominantly lampooning the media for their embracement of serial killers and near veneration of the activities they conduct - all done for the sake of ratings. Oliver Stone is clearly a staunch combatant of such behaviour and as we all know, if Oliver Stone disagrees with something, it's almost guaranteed he'll make a film to argue his perspective. Some may call him his work propaganda, but you can't deny his skill and innovation. Mickey and Mallory are not individual… 12 I imagine most people had the same reaction I did after watching the first half hour of Natural Born Killers. I imagine the same 6 words came out of many people's mouths. What. The. Fuck. Am. I. Watching. This zany bloodbath of a movie was penned by none other than Quentin Tarantino and directed by Oliver Stone. The film is like a shotgun blast of weird visuals, triply editing, and over the top violence. The gimmick is fun at first. It's like being taken through a Charles Manson funhouse ride.

But it frankly starts to grow thinner and thinner as the films goes on. I found that the fractured and crazy storytelling method actually became a distraction more than anything.… 2 "I've had a strong opinion about the psychopathic fringe that thrives today in America's fast food culture." i kept thinking about what this movie would look like today given media saturation now vs. then and stuff like outrage twitter, but that's a total trap because the only way this functions is if it's thoroughly divorced from context or "timeliness". Stone's coke-and-'shrooms-fueled "Who's really in the prison?" swipe at satire is so utterly sanctimonious and trite that for at least half a second it actually threatens to become unfunny, even if the scene where Russell Means sees the word "demon" written on Harrelson's chest couldn't possibly be anything but a joke. whatever this is mad at, it's not around anymore, not… Film #49 of Project 90 ” Let me tell you something, this is the 1990's, alright?

In this day and age a man has to have choices, a man has to have a little bit of variety.” Initially Natural Burn Killers looks like a complex and mind-bending film, its crazy and attention-grabbing visual style certainly baffles the viewer and its conspicuously over the top violence shocks everyone and from those opening moments Stone’s film is able to steal your attention. It’s not hard to understand what he is trying to achieve by telling this super-violent story though, it is a vicious cycle consisting of violence and media encouragement that dominates the film’s universe and it is the stupidity and at… buzz | By Jason Bailey | August 25, 2014 Twenty years ago today, moviegoers had their first opportunity to take in Natural Born Killers, Oliver Stone’s bloody, grim, and broadly satiric take on serial killers, celebrity culture, and tabloid media. But those who sought out the film on more obscure grounds were in for a disappointment.

Quentin Tarantino was not yet a household name; he was still an acquired taste, thanks to the less-than-stellar box office of his 1992’s Reservoir Dogs (which he wrote and directed) and 1993’s True Romance (writer only). His small (yet rapidly expanding) cult following was thrilled at the prospect of a new Tarantino movie—but by the time Natural Born Killers reached the screen, it was no longer the movie Tarantino had penned. His screenplay had been so drastically rewritten, we were told, that he had elected only to take a “story by” credit. And that, presumably, was the last we’d hear about Mr. Tarantino’s Natural Born Killers. But as is so often the case, they found a way — when there was money to be made. After Pulp Fiction became a worldwide indie movie sensation (and is this a good time to mention that there’s a very fine book about that subject , now available online or at your local bookseller?), its published screenplay became a surprise bestseller. And then Grove Press paired the scripts for Reservoir Dogs and True Romance, published that, and had a hit as well.

Buoyed by that success, they went one step further: publishing a Tarantino script that hadn’t actually been made. And thus, with the 1995 publication of Natural Born Killers: The Original Screenplay, we were able to get a taste of what QT’s version of the 1994 hit might have been. But first, some background. Natural Born Killers grew out of Tarantino’s original, massive script for True Romance (itself a rewrite of a script called The Open Road, by Tarantino’s occasional collaborator and video store co-worker Roger Avary). It was originally, oddly enough, a film-within-a-film; True Romance’s character Clarence (played by Christian Slater in Tony Scott’s eventual film version) was writing a screenplay while traveling across the country with Alabama (Patricia Arquette), and that ultra-violet road movie in his mind was what became Natural Born Killers. Tarantino wrote these scripts during his fabled period at Video Archives, jockeying the video store counter all day, watching movies all night, and translating those images into his own scripts at every opportunity. His goal, of course, was to direct the films himself.

When he was unable to put together the funds to make True Romance, he decided that his next attempt would have to be a smaller movie, easier to make on a low budget. And those parameters go a long way to explain the approach — and key difference from Stone’s eventual version — of Tarantino’s Natural Born Killers. While Woody Harrelson’s Mickey and Juliette Lewis’s Mallory are unquestionably the protagonists of Stone’s NBK, they are decidedly supporting players in Quentin’s take. His main character is Wayne Gale, “a young, energetic commando journalist à la Geraldo Rivera,” eventually played (with an Australian accent unmentioned in the Tarantino script) by Robert Downey Jr. And a good chunk of Tarantino’s script is spent with Gale and his production team: a cameraman, a soundman, and an assistant, whom Tarantino named (respectively) Scott, Roger, and Julie, all after his co-workers at Video Archives. Their first appearance is indicative of the differences between the two scripts. Gale and his team are seen in a restaurant “adorned with the standard Denny’s décor,” in a scene that is “to be played at a rapid fire His Girl Friday pace.” Sound familiar?

The opening scene of Pulp Fiction is set at basically the same location; Tarantino’s stage directions in that script note that the dialogue “is to be said in a rapid-pace ‘HIS GIRL FRIDAY’ fashion.” In other words, this looser, funkier Natural Born Killers is a Quentin Tarantino movie, and Quentin Tarantino (at least at this early point) makes hanging-out movies. Oliver Stone, to put it mildly, does not making hanging-out movies. But there was another, more practical explanation for the focus on the production team in Tarantino’s script. In the early 1990s, before digital video and HD photography became the norm, you couldn’t get away with shooting on video (because video looked like shit) — unless the story called for it.

Tarantino’s script carefully notes how much of the movie (especially the lengthy scenes of Gale’s TV reports, filling in the backstory) can be shot on tape, while giving Gale several lines explaining why the centerpiece interview with Mickey will be shot on “high contrast sixteen millimeter black and white, and I mean black and white, where the black’s black and the white’s white.” In other words, Tarantino was writing for the low budget that he was certain would limit his production, so Stone’s revision (written with David Veloz and Richard Rutowski) jettisoned much of that element, while amping up the social commentary (and, this being a Stone film, the Native American presence and drug-related content and imagery). But that said, the mixed-media element of Tarantino’s script may be part of what drew Stone to it; he had already experimented with the mosaic style that would become his trademark in JFK, though it would reach its peak in NBK (appropriately, considering the media-obsessed flavor of his take). And thought Stone’s film and Tarantino’s script have some sharp divergences, they’re not quite as dissimilar as legend would have it.

Both open with the memorable diner massacre, for example, and spend much of the running time on Mickey and Mallory’s escape from prison during a riot. Several key scenes make the transition, and much of Tarantino’s distinctive dialogue remains intact: Mallory’s “Eanie, meanie, minie, moe” bit in the opening scene, Warden McCluskey’s ranting description of the duo (“without a doubt the most twisted, depraved group of fucks it’s ever been my displeasure to lay my eyes on”), Wayne and Mickey discussing the ratings of their episode (“Manson beat you.” “Yeah, it’s pretty hard to beat the king”), a fan’s insistence that “We respect human life and all,” Mickey’s promise to “the fans” that “You ain’t seen nothin’ yet,” and the speech culminating with title line, “I’m a natural born killer” (a line that Tarantino also ended up working into one of his early script jobs, an uncredited rewrite of the direct-to-video thriller Past Midnight).

Stone and his co-writers mostly beef up the second act, which is admittedly thin in Tarantino’s script; the rewrite has much more of the “lovers on the run” element, which Tarantino had perhaps gotten out of his system with True Romance. There was no love lost between Tarantino and Stone during production (hence his request to have his screenplay credit downgraded to story). “I wish [Stone] had just fucking ripped it off,” he said at the time, and proceeded to disown the final product, proclaiming that Stone’s “biggest problem is that his obviousness cancels out his energy and his energy pumps up his obviousness. He’s Stanley Kramer with style.” (SICK MOVIE-GEEK BURN.) Stone responded, in particularly Stone-like fashion, “To be honest, it’s just not done, a writer who becomes famous and then trashes his own movie. I feel like it’s a code, it’s a samurai code that you live with.” Whatever his objections to the final product — and he would claim for years thereafter that he hadn’t even been able to make it through the film — Tarantino did make a few bucks on the film (his deal included a healthy back-end cut).

And it provided the means for a noteworthy purchase: with the ten grand he made for selling the screenplay option, he bought a cherry-red Malibu that, a few years later, John Travolta drove in Pulp Fiction. And, well, that is a whole other story. Natural Born Killers - The Quentin Tarantino Archives The Quentin Tarantino Archives Complete soundtrack Natural Born Killers is a movie directed by Oliver Stone. It was released in 1994. The story is written by Quentin Tarantino (he wrote the original screenplay), but the shooting script is written by David Veloz, Richard Rutowski and Oliver Stone. Starring Woody Harrelson, Juliette Lewis, Tom Sizemore, Rodney Dangerfield, Tommy Lee Jones and Robert Downey Jr.. The Story Maverick director Oliver Stone took Quentin Tarantino's script and turned it into one of the most controversial and violent epics of madness to ever hit celluoid. Natural Born Killers tells the complete reciprocal love tale that True Romance did, except twisted on an acid trip. The film follows the exploits of two psychotic serial murderers, Mickey and Mallory Knox, in love and on the lam along route 666.

When the media follows the couple, leading to their arrest in prison, the tale becomes less about them and more about the world's seething penchant for violence. Characters Natural Born Killers Movie Review (1994) | Roger Ebert Tweet Oliver Stone 's "Natural Born Killers" might have played even more like a demented nightmare if it hadn't been for the O.J. Simpson case. Maybe Stone meant his movie as a warning about where we were headed, but because of Simpson it plays as an indictment of the way we are now. We are becoming a society more interested in crime and scandal than in anything else - more than in politics and the arts, certainly, and maybe even more than sports, unless crime is our new national sport. Advertisement If that's true, then Stone's movie is about the latest all-Americans, Mickey and Mallory ( Woody Harrelson and Juliette Lewis ), two mass murderers who go on a killing spree across America, making sure everybody knows their names, so they get credit for their crimes. (Terrorists always claim "credit" rather than "blame.") The movie is not simply about their killings, however, but also about the way they electrify the media and exhilarate the public.

(One teenager tells the TV cameras, "Mass murder is wrong. But if I were a mass murderer, I'd be Mickey and Mallory!") The boom in courtroom TV has given us long hours to study the faces of famous accused murderers; we have a better view than the jury. Looking into their faces, I sense a curious slackness, an inattention, as if the trial is a mirage, and their thoughts far away. If they're guilty, it's like they're rehearsing their excuses for the crime. If they're innocent, maybe those empty expressions mean the courtroom experience is so alien they can't process it. Not once since he was arraigned have I caught a shot of Simpson looking normal in any way I can understand. His expression always seems to be signifying, "Yes, but . . ." Oliver Stone captures this odd emptiness, this moral inattention, in the faces and behavior of Mickey and Mallory. They're on their own frequency. The casting is crucial: Woody Harrelson and Juliette Lewis are both capable of being frightening, both able to project amorality and disdain as easily as Jack Lemmon projects ingratiation.

There is a scene where a lawman is trying to intimidate Lewis, and he throws his cigarette onto the floor of her cell. She steps on it and rubs it out with her bare foot. Set and match. "Natural Born Killers" is not so much about the killers, however, as about the feeding frenzy they inspire. During the period of their rampage, they are the most famous people in America, and the media goes nuts. There are Mickey and Mallory fan clubs and T-shirts; tabloid TV is represented by a bloodthirsty journalist played by Robert Downey Jr., who is so thrilled by their fame he almost wants to embrace them. The people Mickey and Mallory touch in the law industry are elated to be handling the case; it gives them a brush with celebrity, and a tantalizing whiff of the brimstone that fascinates some cops. Stone has never been a director known for understatement or subtlety. He'll do anything to get his effect, and that's one of the things I value about him. He understands that celebrity killers have achieved such a bizarre status in America that it's almost impossible to satirize the situation - to get beyond real life.

But he goes for broke, in scenes of carnage like a prison riot, which is telecast live while the "host" gets caught up in the bloodlust. Advertisement Yet you do not see as much actual violence as you think you do in this movie; it's more the tone, the attitude, and the breakneck pacing that gives you that impression. Stone is not making a geek show, with closeups of blood and guts. Like all good satirists, he knows that too much realism will weaken his effect. He lets you know he's making a comedy. There's an over-the-top exuberance to the intricate crosscut editing, by Hank Corwin and Brian Berdan, and to the hyperactive camera of Robert Richardson . Stylistically, the film is a cinematic bazaar, combining color and black and white, film and video, 35mm and Super 8, sitcom style and animated cartoons, fiction and newsreels. They're throwing stuff at the screen by the gleeful handfuls. And look how this film blindsided the good citizens of the MPAA classification board. The review panel threatened the film with the dreaded NC-17 rating, and after five appeals and some cutting finally granted the R rating.

But read their parental warning: "For extreme violence and graphic carnage, for shocking images, and for strong language and sexuality." They've got the fever! I could point to a dozen more violent recent films that have left the MPAA unstirred, but Stone has touched a nerve here, because his film isn't about violence, it's about how we respond to violence, and that truly is shocking. Stone's basic strategy is to find the current buzzwords and buzzideas of crime and violence, and project them through the looking glass into a wonderland of murderous satire. It is a commonplace, for example, that many violent criminals were abused as children. All right, then, Stone will give us abuse: We see Mallory's childhood, shot in the style of a lurid TV sitcom, with Rodney Dangerfield as her drunken, piggish father. As he shouts and threatens violence, as he ridicules Mallory's thoroughly cowed mother, as he grabs his daughter and makes lewd suggestions, we hear a sitcom laugh track that grinds out mechanical hilarity. Everything is funny to the "live studio audience," because Dangerfield's timing is right for the punchlines. Never mind how frightening the words are.

Who really listens to sitcoms, anyway? Everything is grist for Stone's mill. Look at Tommy Lee Jones , as Warden McClusky of Batongaville State Prison. He's seen too many prison movies, and he's intoxicated by the experience of being on TV. He rants, he raves, he curses, he runs his prison like a deranged slave plantation. And then here comes Downey, as Wayne Gale, who hosts a clone of "Hard Copy" or "America's Most Wanted." Using a Robin Leach accent that makes the whole thing into showbiz, he's so thrilled to be in the same frame with these famous killers that he hardly cares what happens to him. Watch his reaction in the final bloody showdown, when he believes he is immune because, after all, he has the camera. Advertisement Seeing this movie once is not enough. The first time is for the visceral experience, the second time is for the meaning. As we coast into a long autumn where the news will be dominated by the O.J. Simpson trial, "Natural Born Killers" is like a slap in the face, waking us up to what's happening.

Watching the movie, it occurred to me that I haven't met or talked with anyone who seemed genuinely, personally, angry that Simpson (or anyone else) might have committed those sad murders. Advertisement Instead, people seem more intrigued and fascinated. The word grateful comes to mind. The case has given us all something to talk about. The barking dog. The blood tests. The ice cream that didn't melt. The matching glove. When the subject comes up at a party, you can almost feel the relief in the room, as everyone joins in: At last, a topic we can all get worked up about! Once we were shocked that the Romans threw Christians to the lions. Now we figure out a way to recycle the format into a TV show. That's what "Natural Born Killers" is all about. Popular Blog Posts Natural Born Killers opening credits - Music by Leonard Cohen - YouTube Natural Born Killers opening credits - Music by Leonard Cohen Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later.

Uploaded on Jan 15, 2010 Opening credits from the 1994 masterpiece Natural Born Killers. Directed by Oliver Stone. Waiting For The Miracle performed by Leonard Cohen. Category Movie Review: Natural Born Killers (1994) - YouTube Movie Review: Natural Born Killers (1994) Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. The interactive transcript could not be loaded. Loading... Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on May 4, 2011 Natural Born Killers (1994) directed by Oliver Stone... For my second review I felt that I wanted to mix things up by reviewing one of my all time favorites. This is a film that needs to be watched by everyone regardless of what you think about the films message or the fact that it to some extent glorifies violence on film.

Here's some links relating to the movie reviewed today: Film Review: Natural Born Killers (1994) Home | Film Reviews | Film Review: Natural Born Killers (1994) Film Review: Natural Born Killers (1994) SYNOPSIS: Two victims of traumatized childhoods become lovers and psychopathic serial murderers irresponsibly glorified by the mass media. REVIEW: It was 1994, and I had been anticipation seeing Oliver Stone’s latest creation titled “Natural Born Killers“. I rushed to the theatre expecting a really unique film experience that looked like it was loaded with action and visual appeal. I was correct on those issues but was not ready for the “kind” of film that played out in front of me. I later learned that I was not alone and that it was bashed by critics world wide. So years later with this “same” film being one of my inspirations and favorites from one of my favorite directors…what has changed? For one, “Natural Born Killers (1994)” is described as a crime, romance drama…though it is not your usual ride and far from a traditional style film.

This element is especially important as what you experience the NBK is a play of social sensationalism and the influence of media. Stone was making fun of our culture while also celebrating it with a highly collaged visual piece. There is a story here but how its presented is very music video-like and surreal. “Natural Born Killers benefits from a stellar cast. Each is presented in a very character-driven way that almost stereotypes each regardless of their lines. We see the obvious comparison to news reporter Geraldo and the comparisons to heavies such as Charles Manson. We see actor Rodney Dangerfield presented in a way that we never want to see again (we prefer Dangerfield as a older funny man rather than a aging incestual pervert). Tom Sizemore plays the role of Det. Jack Scagnetti who matches just about every derivative crime drama anti-hero to come out of the 20th century. Robert Downey Jr. plays reporter Wayne Gale who could as easily be casted as Geraldo for his determination to capture the scoop at every turn. At the forefront it’s the performances of Woody Harrelson as Mickey Knox and Juliette Lewis as Mallory Knox that screams white-trash killers favored by the media with an exceptionally loud bellow.

Mickey and Mallory decide that their love is all the matters taking the world down with them. They do it with style, with aggression and look good doing it. We follow this pair across the country as they embark on a wave of murders with nothing more than ambition on their side. Of course, this will gets stomped out, but not before the media has had a chance to raise them to celebrity status for being as bad as they want to be. It’s probably a given that Stone will never make another film quite like this or actually WANT to for that matter. I believe that in his genius many didn’t really get his perspective the way he intended it to be perceived. Rather than focusing on the subjective views of a serial killer couple critics would just shake their heads at the way too much, too fast to consume in a proper manner roll out. Stepping back, it’s clear that what Stone did was take a story like “Bonnie and Clyde” and media the crap out of it as its being told. The visuals range from skits, to dramatics, to cartoons, to TV commercials. Each character is presented but is made fun of with the very mediums that fuel them.

Mickey and Mallory are a media sensation and because of that Stone chose to deliver it in quite the same manner as a rush of TV media coverage might. He also thought it pertinent to incorporate views using different medias that illustrated their violence, passion, and lack-of compassion for the human ideals. He made them exciting even though they were cold blooded killers. This relationship can be easily found within our own culture that makes celebrities out of chaos. Perhaps Stone’s vision was way ahead of its time. Perhaps viewers don’t like their medias interwoven and being reminded of “who” we are and what we do. Perhaps we just like our eggs fried sunny side up and not scrambled. Perhaps. “Natural Born Killers” is comedic is sarcasm translated thru visual ques.The original screenplay was conceived by master writer Quentin Tarantino who could-of directed the film to a different tone altogether. The film is reported to have taken 11 months in editing alone with over 3,000 editing cuts made. One run thru of this film, will easily support that statement as things move a mile a minute. The movie incorporates psychedelic montages that use black and white, color scheming and associated animations.

These are collaged over the main story which also plays out in fragments. Critics ranged in their interpretations also ranging from being inventive to horribly overbearing and personal. In any case, I firmly believe that “Natural Born Killers” is a work of cinematic art that should be saluted as much as any criterion achievement. It is trendy, ground breaking and a masterpiece for Oliver stone as a creator and stylist. Natural Born Killers (1994)

Question: Who directed the 1994 film ‘Natural Born Killers’?
Answer: Oliver Stone