Natural Born Killers.

Review #1265: Natural Born Killers.

Cast: 
Woody Harrelson (Mickey Knox), Juliette Lewis (Mallory Wilson Knox), Robert Downey, Jr. (Wayne Gale), Tom Sizemore (Detective Jack Scagnetti), Tommy Lee Jones (Warden Dwight McClusky), Rodney Dangerfield (Ed Wilson), Edie McClurg (Mrs. Wilson), Sean Stone (Kevin Wilson), Russell Means (Warren Red Cloud, Sr), Lanny Flaherty (Earl), and Evan Handler (David) Directed by Oliver Stone (#095 - Wall Street and #1090 - Platoon)

Review: 
It is interesting to look upon this film today, 25 years after its release. It is a notoriously famous kind of film, one that was modified from its original script by Quentin Tarantino (the second of two scripts he had sold, with the other being True Romance) to the point where he was given a story credit while screenplay credit went to Richard Rutowski, Oliver Stone, and David Veloz. Tarantino wasn't a big fan of the final product, and the film is certainly an easy one to rage/rave about. The resulting film is one that is bold in its violence and its attempts to make a statement about society and so on and so on while also serving as a twisted romance - two hours of chaotic energy that is frantic, satirical, and a bit of a mess. Honestly, it must be real hard to fall along the middle ground with this particular film: One can appreciate the technical aspects of the film and yet still take issue with its approach for the message it wants, or one can really, really feel that it is a tiresome and ridiculously shameless attempt at satire that goes over the top to where it hits the moon with jagged edge front and center. One film that came in mind when viewing this was Bonnie and Clyde (1967), which in itself was a controversial film for its violence with its lead characters while being a seminal film for a burgeoning generation. This is definitely a film that is trying to be the kind of thing for its type of audience, with its decade certainly being a polarizing one in terms of the landscape of media and the world as a whole. One can certainly see that effect today, for better or worse (the less said about quote-unquote fake news, the better). It is the kind of loud film that probably seems right at home with the loudness that can accompany our lives if one allows it (or even if they don't).

No one seems to be safe from Stone's grip on message-making, or his grip on spectacle violence (or whatever you really want to call it), and they make for a cumbersome cocktail that when sipped manages to hit the consumer on the head and make for a fuzzy feeling all at once. This is especially apparent with the editing (which took eleven months as opposed to the shoot taking just 56 days) and look of the film, which can go from color to monochrome or just be filmed with a dutch angle (or most notably superimposing images of the 20th century in the background). Am I watching an crime movie or an art film? Really, you could say it is a bit of both. Does it go over the line when it comes to actually making a point? Sure, and it does that with no real sort of regrets, much in the same way a shock jock can hammer the hot take home till the cows come home to call the complaint hotlines. For me, it is a well made film that comes off okay with its approach while scoring points for capable film-making (moreso in the first half than the second) and its cast. Each of the core five has some sort of oddity to them (the headlining couple need no explanation), where being over-the-top is more like being over the rails and into the weird aisle, which generally works out fine in showing some ooze. Harrelson and Lewis are a dementedly successful duo when it comes to performances. One always wants to know what they will prove to do, whether with each other or with someone else, a sort of hypnotic feeling really. Much like the others in the film, one can't help it. Downey Jr plays his role of prowler for the attention machine (or however one would describe a tabloid TV host who happens to have an Australian accent) with effectiveness, where one can see the thirst for something deep in us (or what have you) that manifest in a wildly weird climax. Sizemore surely proves to task with his unconventional conventional role, where you can see the powder keg show its cracks from time to time. Jones hams it up (this is apparent with the hairstyle), and it works itself out for a few laughs at a man meant to have control yet can't even control himself. Special scene-stealing consideration goes to Dangerfield, who actually wrote his lines for his dark part that is perfectly horrific for what is needed. In the long run, this is a movie that roars itself from the very beginning with an ax to grind about its topic of conversation that swings for the trees and manages to cut down the entire forest while also setting it ablaze. Its fury can prove a bit too much after a while when it comes to actually trying to contain itself to one frenzy at a time. It can prove to be a horrific, biting, infuriating, frustrating, or rewarding experience, depending on how one looks into it. It is a controversial film for a reason, but the curious film mind will certainly have quite the time with it, that much is for sure.

Overall, I give it 8 out of 10 stars.