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Writer / director C.M. Talkington doesn't go about trying to reinvent the wheel when it comes to "lovers on the lam" cinema. He merely tells a decent, straightforward story (albeit with some pretentious narration), with the usual amount of sex and violence, as well as humour, style, and some irreverence. The main hook is that the couple at the centre of this tale are not inherently vicious, violent people; they merely resort to it when forced into a corner.

Hell, our main protagonist, "Watty" Watts (handsome Gil Bellows) is a veteran robber who regularly uses guns that AREN'T loaded, in an effort to avoid bloodshed. But he has a problem because he still associates with a fellow ex-con named Billy Mack (a memorable Rory Cochrane), an utter psychopath with an itchy trigger finger. They attempt a robbery, it goes bad, and "Watty" flees with his gal Starlene (the enchanting Renee Zellweger); Billy, a pair of loan sharks (Jeffrey Combs, Jace Alexander), and the law pursue them.

"Love and a .45" is an amusing, visceral modern crime thriller with some fun touches. It acknowledges the debt that all movies of its kind owe to the granddaddy of them all, "Bonnie and Clyde". It also seems influenced by Tarantino, but in truth this was filmed *before* "Natural Born Killers", to which people often compare this one. It wouldn't work quite as well if we didn't like the two main characters to some degree, and "Watty" and Starlene make for a pretty engaging coouple. Granted, he does get annoyed with her towards the end, since it's clear she's enjoying her status as a "celebrity", and sometimes courts trouble.

The whole cast is great in this thing; it's too bad that Bellows and Cochrane never became bigger stars (of course, we all know that Zellweger went on to bigger things). They're supported by a variety of familiar faces. Peter Fonda is a hoot, well cast as a modern hippie who now has to speak using one of those voice generators. Michael Bowen, Jack Nance, Ann Wedgeworth, Wiley Wiggins, and Charlotte Ross round out the cast. It's particularly fun to see Combs outside the horror genre and delivering a flamboyant, priceless performance.

Aided and abetted by its soundtrack, "Love and a .45" is worth a look for those movie lovers who seek out efforts like this that never quite got their due.

Seven out of 10.

I saw this movie late one night and was pleasantly surprised at how very good it was. Of course, it lacked in certain areas, and could have been better developed but I believe that if the budget was better, it would have succeeded.

This movie has a decent plot, really well-developed characters and very creative screen shots. I recommend this movie to anyone who is interested in Tarantino's style but by a different director. Definitely a cult classic.

I must admit, I was pleasantly surprised by this film. All I'd heard prior to seeing it was that it featured the world's first celluloid skull tattoo (it does, but that's another story). After seeing it, I highly recommend it to fans of the crime/road trip genre.

Gil Bellows and Renee Zellweger are Texas lovers in trouble with the law after killing some cops after him for a robbery/murder. Rory Cochrane, as his crazed ex-partner, follows the two to Mexico. The trip south of the border comprises most of the movie, and what a trip it is. Co-starring are Jeffrey Combs, excellent in a non-horror role, and Peter Fonda as --what else?-- a burn-out. The mostly rockabilly soundtrack is very good.

If you want to see a movie that has no reason for being.... you'll enjoy this. If you want to criticize a movie for looking like Reservoir Dogs or whatever...dont get this one. It's a very good film and the acting is great. But take it for what it is...A MOVIE! This was Rene's last Indy film before taking off with Jerry Maguire and the film is just fun. Dont dig deep in it...just enjoy it. The DP was aweful and the lighting is bad at times but that adds to the film.

The 90's was big for Bonnie and Clyde style, couple gangster/serial killer films and Love and a .45 sits well amongst the best of them.

It captures a style and feel of its own so you don't feel like you are backing over the same territory.

The cast is great, especially Combs who is at his over the top best.

The pacing is great, never dull and you feel the connection between the lovers as they try to live their dream.

I watched this in the mid 90's and again now in 2021 and happy to say I wasn't disappointed to revisit it :)

A young no-class couple from central Texas (Gil Bellows & Renee Zellweger) flee from loan sharks and a maniac ex-partner (Rory Cochrane), seeking a shotgun wedding and to escape to Mexico.

"Love and a .45" (1994) is a satirical black comedy crime flick inspired by the Charles Starkweather killing spree of January, 1958, who was accompanied by his 14 year-old girlfriend. Similar films were inspired by the same real-life episode: "Badlands" (1973), "Kalifornia" (1993) and "Natural Born Killers" (1994). Seventeen months after Starkweather's spree he was wiped off the face of the earth via electric chair. Needless to say, we were wiser then.

While "Badlands" and "Kalifornia" were realistic, "Love and a .45" takes the satirical route à la "Natural Born Killers," but it tries too hard to be an oddball cult flick about dirtbags, not to mention it's shallow. By contrast, the contemporaneous "Pulp Fiction" didn't have to try hard; it just was (the real deal; and not shallow at all). But there are enough highlights in "Love and a .45" if you don't mind movies about white trash crazies: Zellweger never looked better, not even in "Empire Records" (1995); Cochrane gives it his all; and Bellows works as a likable anti-hero.

The film runs 1 hour, 42 minutes, and was shot in the heart of Texas (Bastrop & Austin).

GRADE: C/C-

Fairly good independent film in the same vein as "Natural Born Killers", but with the exception of Peter Fonda, contained an unknown cast. It wasn't noticed at all when it came out and was only in limited release. Now it is easily located at major rental chains because it contains an unknown actress by the name of Renee Zellweger. She steals the film from her co-stars and frame by frame takes over the movie. It is worth renting just to see her in her first major role in which she walked away with the "Independent Spirit Award" in 1994. She won another in her very next film "The Whole Wide World" and then came "Jerry Maguire and she hasn't looked back since.

...that was no doubt made by people raised on Dukes of Hazzard and exploitation films. Sound good? Yeah, I thought so too. Sadly, It's pretty damn lousy. Just simply way too over the top to be relatable and not clever enough to be enjoyable. The 90s were filled with these trailer trash, lovers-on-the-run type road movies and you can do a lot better - Wild at Heart, Kalifornia, U-turn, True Romance, Doom Generation etc etc... and this one wants to be the indie Natural Born Killers sooo badly! But the script is mediocre, at best.

The main cast is pretty good for a low budget movie and that roped me in, along with a stellar soundtrack and I thought the overall premise had potential. But it's all too cartoony and amateurish, which possibly could've worked with more style and substance. It'd make a decent background movie for hitting the bong and having a couple drinks, tho!

For the cast, soundtrack and the 90s nostalgia, I'll go as high as a 4 out of 10. There are a couple of pretty well done scenes, but overall this leaves much to be desired.

Some lazy and uninformed Critics and Reviewers can't help themselves and immediately lash out at this Movie's similarity to others Directed by Tarantino, Rodriguez, Stone, and Lynch. Truth of the Matter is that when Films are so near in release dates it is unfair and somewhat inaccurate to claim thievery.

It is more likely and a bit Metaphysical that these Creative Folks were all tapping into that Akashic Record thing or what may be called the Hundred Monkey Theory. Whatever. This is a very good, Fun-Frolic Road Movie with White Trash Anti-Heroes and a Kick-Ass Soundtrack. More quirky characters than have a right to exist in any one Movie and some Witty Banter that makes it all quite a Rolicking Ride.

It is over the top, around the bend, down the rabbit hole and off into outer space. Nutzoid and Naughty, Dirty and Delightful, with a Cast that cries out Cult Movie. It is proudly self-conscious, Violent, and Funny enough for it to become part of the Zeitgeist that was working in its Day and can not be ignored. This one will do nothing but gain Reputation and Admiration acquiring more Fans every Year.

It was an easy thing to miss and dismiss this in the Mid-Nineties but if nothing else, the Success of Renee Zellweger will have the curious seeking this one out as a Career Starter and while she is a standout here, this Movie has more to offer and does so with layers of interest far beyond anything as shallow as Star Power. It gets its energy from a Chemical Compound and a Cultural Milieu that is forever Fascinating.

I love road movies and I have seen just about every one that has come out in the nineties. Love and a .45 rates above Lewis & Clark & George, but definitely below U Turn and Natural Born Killers.

I've noticed that biggest problem filmmakers have with this genre is ending the movie. This one is no exception. The climax has nothing new and is actually kind of corny, not to mention the rip on Tarantino and John Woo with the three-way gun pointing (you'll understand when you see the movie). Nevertheless, it's still worth a watch if you are a lover of the genre. 7/10.

Good Peter Fonda character, and Zellweger is pleasant to look at, but this movie was weak. See any Tarantino, or Rodriguex, or Woo, instead of this. Is it so hard to be original? If it is, find other work.

Pretty good movie that has been pretty unfairly treated over the years. It has some flaws, but in general it stands out owing to outstanding performances and ingenious direction. It's been called a copy of "Natural Born Killers", but that comparison is both unfair and inaccurate. Unfair because the movie was completed *before* Natural Born Killers was released, and inaccurate because the characters are fundamentally different. Natural Born Killers was about two people who were by nature violent and evil, whereas this movie is about two who are by nature *not* violent.

Check out the movie yourself, and rather than listen to accusations that it's a rip-off of movies that actually came after it, give it a shot as what it is -- a better-than average entry in a long-standing film genre, the outlaw couple on the run. And where it's due the director gives nods to his influences. Note one item that struck me as an inside joke -- the addition of Peter Fonda, the star of one movie that truly *is* a predecessor of this one: Dirty Mary and Crazy Larry (1974).

Total white trash movie, notable for vintage Zellweger performance, which instantly drew me in when I encountered the trailer on some other DVD, that scene where she eagerly jumped onto Watty on the couch, all long legs and bare feet. And Renee is great. Movie is very watchable. Sure has moments. Inconsistent performances by supporting cast, especially the overblown attempt at psycho acting by Rory Coltrane. Noticed that in the trailer already, and was wary, but had to give the hot-fox-back-then the honors.

For a comedy, too much blood.

The DVD's commentary track recalls that they had a hard time finding the ideal Starlene Cheatham. Renee Zellweger channeled a total Kelly Bundy from MARRIED WITH CHILDREN vibe. Could have made the search much easier had they known beforehand.

Back in the early 90's there seemed to be a plethora of films about young outlaw couples on the run from the law. They were a combination between the road movie and the crime-thriller. Wild At Heart, True Romance, Natural Born Killers and even Thelma and Louise are examples of this phenomenon. Who really knows why they were so popular, but whatever the reason, Love and a .45 is yet another one from this cycle. I think it would be only fair to say that it's a minor entry, and it doesn't compare too favourably with those other movies mentioned above.

Also in common with these other flicks, this one has a pretty strong emphasis on humour too. And perhaps this is one of the main flaws because, generally speaking, most of the supposed laughs aren't that funny. Its dependent on its characters who are supposed to be quirky and left-field enough to raise a smile. But the two gangsters and the psychotic 'friend' are mainly pretty annoying; while Peter Fonda's hippy dad may talk through a voice box but that accounts for one initial smile and gets old fast - he's essentially a one joke character.

The story is a fairly generic bit of crime fiction. Its certainly serviceable although not especially memorable on its own terms. In the movie's favour is the fact that it does have a fast pace and it never truly outstays it welcome. That said, it isn't really too much of a shock that director C. M. Talkington didn't go on to forge a film career, as his direction of everything isn't too good. There is some potential here for a much more entertaining story but the writing, the performances and the direction aren't strong enough to make it so. Overall, this isn't a bad film particularly but its no more than a fairly mediocre entry in a well-worn sub-genre.

For the genre I thought it was pretty good.

It's not so much a Tarentino ripoff, as has been suggested, as another in a long line of White Trash on the Road movies which started back with Bonnie & Clyde & Easy Rider and continues with movies like Freeway, Natural Born Killers etc.

The characters were great. They're supposed to be overdrawn and the balance between the main characters bad deeds and that piece of goodness they have that no one else in the film possess was struck just right.

Rightly so Renee Zellweger has built a career since this but I'm surprised that the Director, CM Talkington went nowhere from here and the lead Gil Bellows (who is charming here) has had little success either.

And who would have thought that Creepy would go on to direct a ton of TV shows!

Watty Watts (Gil Bellows) and Starlene Cheatham (Renée Zellweger) are petty criminals and star-crossed lovers in Texas. He owes money to mobsters. His unstable friend Billy Mack Black (Rory Cochrane) has intel on $10k in a store safe. Watty considers himself a happy criminal. He ensures that his armed robberies are done with unloaded guns. Billy lies to Watty and keeps his gun loaded. The robbery goes badly and Billy kills the clerk. Billy deteriorates and Watty leaves him. Watty and Starlene intend to make a run for Mexico.

This is a lesser Natural Born Killers or Tarantino. Rory Cochrane would fit comfortably in those other movies. Zellweger is in her peek young hotness. Gil Bellows still has some leading man sensibilities. The actors are capable. The writing and directing is nowhere near that top level but there are bits and pieces of interesting stuff. It has some fun.

False. Ugly. Hollow. Cheap. Worshipfully amateurish. A shameless Tarantino rip-off with snickering contempt for the intelligence of its audience (the writer-director, Talkington, does have some visual panache, thus it's a little surprising he's done virtually nothing since.) The sort of thing impressionable, uncritical viewers eat right up. It's all a big dumb joke; if you listen closely you can almost hear its dopey, guffawing laughtrack. The movie has no core, no reason to exist; it's gimmick piled on gimmick piled on gimmick.

Gil Bellows is a personable actor out of his element here. His talents are geared for television, not film. He's unable to project danger or darkness. For this sort of movie to work the outlaw MUST possess those qualities. Zellweger has fun with her splashy, trashy part, but is betrayed by an attention deficit disorder script. One minute she acts as the brake on Bellows' criminal impulses and yearns for domestic tranquility; the next she's a gun-toting hell-raiser delighted with her sudden celebrity. Gee, I wonder where Talkington got those ideas?

Then there's this Rory Cochrane fellow. As Bellows' psycho buddy, he's grotesque and nearly unwatchable. His acting is a desperate, shapeless mess. He doesn't know what he's doing up there, so he empties his whole bag of tricks. A few will mistake this for brilliance. Most will not be fooled.

The soundtrack is, unfortunately, very good (you wish it was attached to a legitimate story) and the convenience store robbery opening with that fine un-actor-ey kid, Wiley Wiggins, from "Dazed and Confused", is wise and understated. It's the only REAL scene in the movie. After that it's just Talkington ripping off or paying homage to, well, let's see - "Raising Arizona", "Reservoir Dogs", "Bonnie and Clyde", "Badlands", "True Romance", "Wild At Heart", "Natural Born Killers" and on and on and on.

Okay, Talkington, you're a movie fan. We got it. Now try making a good one.

This is a very entertaining movie, but it copies the style of Quentin Tarantino when you look at the dialogs, the kind of story (a lot like True Romance and Natural Born Killers) and the use of surf music. The direction looks a lot like Oliver Stone's in Natural Born Killers (shots of view, amateur-style image). Still, it was funny, it was entertaining but it wasn't innovative.

Texas convenience store robber Gil Bellows (as Watford "Watty" Watts) and his blonde sexpot Renee Zellweger (as Starlene "Star" Cheatham) get into trouble when a hold-up gets unexpected bloody. As a rule, Mr. Bellows commits his robberies with an unloaded gun. "Never rob a store with a loaded gun," he advises, "never." We're supposed to ignore the fact that he breaks the rule immediately; the young clerk in the opening minutes would have relieved tension by pulling the trigger after hearing it wasn't loaded, if not sooner. Next to break the rule is crazy strung-out accomplice Rory Cochrane (as Billy Mack Black)...

The bloody mess results in Bellows and Ms. Zellweger leaving their romantic trailer park for Mexico, in a baby blue 1972 Plymouth. Before booking, Bellows sticks a fork and a knife in Mr. Cochrane, thinking he's done with the dude. Turns out, he's not. Along the violent road trip we meet director C.M. Talkington in a tattoo shop. Suburban hippie Peter Fonda and passionate wife Ann Wedgeworth also appear. They disappear, alas, but leave behind a trippy bottle of Sandoz...

In one of the funniest of a few good laughs, the comedy's co-stars turn on the TV as a favor to a bound and gagged reverend; horrifically, they leave it tuned to a home shopping channel. Bellows and Zellweger are and attractive couple, but do not even approach older outlaws "Bonnie and Clyde" (1967) or contemporary "Natural Born Killers" Mickey and Mallory (1994). Bellows is a scruffy Sal Mineo. Zellweger is a Southern Kelly Bundy, acting with her legs first. It is refreshing to see the actors shake more than the cameras. Consisting of appropriate oldies and original music by Tom Verlaine, the soundtrack, is a main strength.

***** Love and a .45 (9/10/94) C.M. Talkington ~ Gil Bellows, Renee Zellweger, Rory Cochrane, Jeffrey Combs

Anyone who like their films stacked with dark humour and well-written characters should check this out! It's "Natural Born Killers-esque" in style here and there, but was actually made before that movie. Absolutely stunning performances all round. I highly recommend this film.

It's always fun seeing actors like Renee Zellweger early in their career. This was a somewhat entertaining romp if not a compelling intriguing story. Probably worth the time to watch but probably wouldn't watch it again.

ABOUT MY REVIEWS:

I do not include a synopsis of the film/show -- you can get that anywhere and that does not constitute a meaningful review -- but rather my thoughts and feelings on the film that hopefully will be informative to you in deciding whether to invest 90-180 minutes of your life on it.

My scale: 1-5 decreasing degrees of "terrible", with 5 being "mediocre" 6- OK. Generally held my interest OR had reasonable cast and/or cinematography, might watch it again 7 - Good. My default rating for a movie I liked enough to watch again, but didn't rise to the upper echelons 8- Very good. Would watch again and recommend to others 9- Outstanding. Would watch over and over; top 10% of my ratings 10 - A classic. (Less than 2% receive this rating). For Lifetime Movies for Chicks (LMFC), drop the above scale by 3 notches. A 6 is excellent and 7 almost unattainable.

Ack! Ack!! I think I coughed up a hairball at the moment I realized the scriptwriter really was trying to pen a love story and not simply another violent comedy piece. there was a heavy whiff of "Natural Born Killers" of course, but it really almost copied "Pulp Fiction" exactly. both "Love..." and "Pulp Fiction" were done in 1994, according to a quick Google. "Love..." seems to be a caricature of Pulp Fiction, especially regarding the soundtrack, which was good but could not even hope to salvage a particularly horrific script. I'm hoping someone can tell us what movie(s) might have spawned this particular genre of comedy-thriller that seems to require a battery of guns, violence, sex, cool-drug music and surf music, drugs and way-too-cool lines. Please drop in a Comment. Thx.

Tarantino-esq action thriller which is worth a look and will not disappoint fans of Quentin's films particularly True Romance. It has (lots of ) violence, rapid gun fire, white trash characters and a large dollop of that comic book humour that has got Quent where he is today. It is easy to see that this film takes its inspiration from the aforementioned film, but it does stand on its own feet as the script and the action is good enough to entertain you throughout. Bellows and Zellwegger are good in the leads and the supporting Rory Cochrane is great fun as their psychotic madman 'friend' out to settle a few old scores. Peter Fonda is a standout as Zellweggers' dad. Highly recommended.

The only reason to watch this is to complete a study of Renee Zellewegger's work.

It's a B movie. Don't read the reviews and then think you will see anything near the value of Tarantino or Stone even at their worst. I cannot understand how this movie could even be compared to True Romance, for instance. TR is amazing--brilliantly written and packed with excellent performances by too many good actors to list. This one has Renee in a forgettable part. That's it.

Gil Bellow is mis-cast entirely. The acting is mostly sub-par, caricature. Cinematography 101. Even Renee delivers a so-so performance, but she's never unwatchable, which again is my reason for seeing it. There just isn't much entertainment value at all.

Unless you know someone on the production, or maybe for study purposes, you should definitely pass on this one.

Yes, we should thank the movie God for PULP FICTION, but it shouldn't have made people forget about this little cult item here. It premiered at the same time as PULP FICTION. Which other reason exists for the few votes here?