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Highly Overrated But Still Good

Admirable film.

Good films always raise compelling questions, whether the format is fiction or documentary fact.

Blistering performances.

Goes on a bit. The suits who wanted to cut it down were on to something. It could have been shortened by about 25%. The violence ceased to be disturbing after a while. Screen violence is never really convincing, since one knows it is just a movie, and before long here it just washed over my head, and grew tedious. Only psychological torture actually hurts. The psychology here is limited to rather soppy romance, except in the case of Mallory's repulsive father, who got what was coming to him. The message of killing being naturally born was plain enough.Juliette Lewis was good in her part, and Woody Harrelson was OK in a less demanding role. However, Robert Downey Jnr, and the rest of the cast, when it came to the prison riot, were little more than a multiple pain in the neck. This was especially true of Downey and his twitchy face, which became exceedingly annoying and irritating. His would-be Australian accent seemed utterly pointless. The riot went on and on to no purpose, and while it may have entertained the public, when shown on television, it soon ceased to entertain me. The prolonged trippy, psychedelic style grew wearisome, as well. One watch, no more.

To me filmmaking is all about this film. My main inspiration as a filmmaker and a student. The hard work the audacity, the casting, performance, music- everything is just near perfect. The realism, surrealism, the art, technique, courage is just immaculate. Forever will be my inspiration, because of its multi-format sequences.

Oliver Stone's most controversial film is a breakneck satire of the media's attitude towards violence. This notorious movie tells the story of a couple of mass murderers who end up getting caught in a media whirlwind as they're pursued by a shock journalist desperate for the 'number one' interview. Stone goes all out on style with this movie and it's one of the craziest you'll see: back stories are played out in the manner of '50s sitcoms, all manner of media is called into play (black and white film stock, back projection, hand camera) and the film itself is an over-the-top glorification of violence and insanity that just screams offence at just about everybody.It's actually a very good satire – one of the most biting I've ever watched – and also one of the darkest movies you'll see. That's after you get past the first hour, that is. Word up – I absolutely HATED the first hour of this film, which tells the story of a modern day 'Bonnie and Clyde' and their murderous antics. Stone's outrageous direction is matched by the outrageous performances he elicits from his stars, and it got very tiring after five minutes or so. There are plenty of better films in a similar vein and the previous year's KALIFORNIA, also starring Juliette Lewis in a very similar role, was much better.Then the killers are caught and the film becomes interesting AND original. Obnoxious TV journalist Robert Downey Jr., is introduced, sporting an annoying Australian accent and giving the craziest performance of his career; he damn near steals the movie from everybody else. Tom Sizemore's on hand to show that perverts don't just exist on the wrong side of the law, and then the whole film moves to a prison for the last third where it gets REALLY good. Stone depicts a prison riot as a trip to the very depths of Hell and his use of the hand-held camera during this bloody moment of mass insanity recalled to me the gut-wrenching depths of CANNIBAL HOLOCAUST. This final set-piece is bigger, starker, and darker than anything that's come before, and it's where I REALLY sat up and started taking notice.I don't really like 'message' films as such – and there's plenty for Stone to dwell on here. The cult of celebrity, the media's obsession with violence, true crime programmes, insanity, true love, crime and punishment, it's all covered here with plenty of intelligence. Woody Harrelson holds everything together with the bone-chilling performance of his career and while I've never liked Juliette Lewis, she's impossible to ignore here. Tommy Lee Jones goes way overboard as the agitated prison governor and Stone has a lot of fun with the violence, script and twisty-turny plot. Weird – a film I started off hating ended with me absolutely loving it. NATURAL BORN KILLERS is one heck of a roller-coaster ride.

Watched this movie back in 1994 when it was released (and I was 18 or so) and again just recently when it ran on IFC. At the time of its release I thought NBK was "meh." Now with the benefit of 20 years of hindsight I think it's a bit of a disaster.There are several problems with NBK but the biggest issue is that it's a total failure as satire. I get the sense that Oliver Stone intended to satirize the media's infatuation with and exploitation of true crime stories and serial killers. This would be fine if Stone himself didn't completely romanticize and even mythologize Mickey and Mallory, the young killer protagonists of this film.I kept waiting for Stone to contrast the ugliness of their crimes with the spectacular way they are presented by the media. No such luck. Instead, all of their victims are shown to be disgusting human beings who deserve their fate. The highly stylized way the violence is meted out adds to the sense that we're supposed to be rooting for these two murderers and to view them as the victims of the film.In a nutshell, Stone is guilty of the same sensationalism he pretends to condemn in this film. The tone is all wrong and we the audience are never sure whose side we're supposed to be on or why.Aside from this huge creative miscalculation, the movie is wildly overedited and constantly shifting from black and white to color to odd angles etc. This is mostly annoying and didn't add anything to the film. The main story is also totally clichéd and the film doesn't even work on the level of satisfying exploitation, featuring far less violence or sexuality than I expected.Overall just plain bad.