Duas vítimas de uma infância traumatizada tornam-se amantes e assassinos em série, irresponsavelmente glorificados pela mídia.Duas vítimas de uma infância traumatizada tornam-se amantes e assassinos em série, irresponsavelmente glorificados pela mídia.Duas vítimas de uma infância traumatizada tornam-se amantes e assassinos em série, irresponsavelmente glorificados pela mídia.
- Direção
- Roteiristas
- Artistas
- Prêmios
- 5 vitórias e 10 indicações no total
Corinna Everson
- TV Mallory
- (as Corey Everson)
Edward Conna
- Gerald Nash
- (as Eddy 'Doogie' Conna)
Avaliações em destaque
Oliver Stone seems to have outdone himself on this one. Not only is Natural Born Killers a visual masterpiece, but it is probably one of the most insane and nonsensical social commentary films I have ever seen. Disappointing, since it was penned by one of my favorite film directors, Mr. Quentin `Bad Motherf***er' Tarantino himself. The elements of a good story are there: Boy meets girl, boy and girl fall in love and go on a mass murdering spree which is lapped up by the media. While there is definitely a strong social statement, the story is too erratic and scattered to be completely coherent.
Visually however, Natural Born Killers is stunning. It is intensely colorful, unflinchingly violent and innovative in its cinematography. This movie is not for most, but if you decide to try it out, be warned: It is not for the faint of heart, and not for the weak of stomach. But it is an important film for its visual merits, at the very least.
--Shelly
Visually however, Natural Born Killers is stunning. It is intensely colorful, unflinchingly violent and innovative in its cinematography. This movie is not for most, but if you decide to try it out, be warned: It is not for the faint of heart, and not for the weak of stomach. But it is an important film for its visual merits, at the very least.
--Shelly
I've nothing against experimental movie-making. But here technique overwhelms everything else, leaving us with cinematic chaos and maybe a headache. All the rapid- fire jump cuts, color changes, and camera angles add up to an anti-movie mess. It looks like somebody's self-indulgence run wild. To me technique should enhance story, not overwhelm it. Or, in some cases, it might get us to see a familiar theme in a new way. But since there's no real story here, just a sequence of chaotic events, there's ironically no real conflict, just a two-hour waste of film and viewer attention. To be fair, I guess there is a message, something about the media creating a faux reality that sucks people into its seductive realm. That's certainly a worthy, if not novel, theme, especially in our fraught day and age. But unfortunately this movie mess overwhelms the idea without either enhancing it or seeing it in a new way. Too bad.
(In passing—Most folks think of Mallory and Mickey as modern day Bonnie and Clyde. Nevertheless, B&C's main purpose was robbing banks, not killing people, a-la M&M. To me, the apt comparison is with the less well-known, teenagers Charlie Starkweather and Caril Ann Fugate. After killing her parents and a baby, their murder spree spread across Nebraska and Wyoming in 1958, and appears motivated by little more than a perverted joy of killing, a-la M&M!)
(In passing—Most folks think of Mallory and Mickey as modern day Bonnie and Clyde. Nevertheless, B&C's main purpose was robbing banks, not killing people, a-la M&M. To me, the apt comparison is with the less well-known, teenagers Charlie Starkweather and Caril Ann Fugate. After killing her parents and a baby, their murder spree spread across Nebraska and Wyoming in 1958, and appears motivated by little more than a perverted joy of killing, a-la M&M!)
This film had nothing going for it, even for entertainment value. And if you're going to call it a satire on "Social Criticism", that's just like saying Disney is a spoof on William S. Burroughs! Oliver Stone essentially made a bad movie on purpose, and assumed that the "cult art house" audience would make up a meaning for it and turn it into a religion.(I once knew a girl at work who wore a sterling coiled snake ring for a full year, shortly after the movie's release.) Folks, this movie wasn't supposed to have a meaning, it was a flat out awful turkey, just like it was made to be!
This movie really lowered my view of Oliver Stone. I use to believe he was an accomplished/cutting-edge director, but you can throw that out the window once you've seen Natural Born Killers. This movie was repulsive, disgusting, offensive, and just plain WRONG. I tried to see where Stone was going with it. I honestly tried to find an overall message that you're suppose to feel once the movie is over... but I found nothing. The only thing that stayed with me were the disturbing sequences slammed into my face. There is no anti-violence message like in Boyz In The Hood or anything remotely close to making a statement. This movie teaches about destroying life... not preserving it. If it does ANYTHING, it encompasses everything wrong in this world (all the senseless killings, violence, immorality, you name it) and raises it to the 7th level of Hell. The only thing this movie will do is procreate more violence. Just like its main characters this movie has no conscience.
Natural Born Killers is a disturbing film. It is a great film as well. Visually it looks great and between all that violence there is a message. Criticizing the influence of media with another form of media called film.
With a lot of cuts, strange camera angles, different colors, the kind of music and a lot of symbolism the sick world of mass murderers Mickey (Woody Harrelson) and Mallory (Juliette Lewis) is presented. And the sick world of how people react to their violence. Director Oliver Stone shows it to us with this satire in a great and really disturbing way.
Harrelson and Lewis hit the right tone for Mickey and Mallory. Tom Sizemore as a cop, Robert Downey Jr. as a journalist (representing the whole media) and especially Tommy Lee Jones as the prison warden are great too. Originally written by Quentin Tarantino, although he was not too happy with the result in the end, this is one of the best satires I have seen. May be it is not for everyone, the images are not always that nice, but the meaning must be for everyone.
With a lot of cuts, strange camera angles, different colors, the kind of music and a lot of symbolism the sick world of mass murderers Mickey (Woody Harrelson) and Mallory (Juliette Lewis) is presented. And the sick world of how people react to their violence. Director Oliver Stone shows it to us with this satire in a great and really disturbing way.
Harrelson and Lewis hit the right tone for Mickey and Mallory. Tom Sizemore as a cop, Robert Downey Jr. as a journalist (representing the whole media) and especially Tommy Lee Jones as the prison warden are great too. Originally written by Quentin Tarantino, although he was not too happy with the result in the end, this is one of the best satires I have seen. May be it is not for everyone, the images are not always that nice, but the meaning must be for everyone.
Você sabia?
- CuriosidadesDuring filming, Juliette Lewis actually broke Tom Sizemore's nose when she slammed Scagnetti's face into the wall.
- Erros de gravaçãoMickey shaves his head right before the interview, but as he is led to the interview room there is a shot of his neck with chains on it, and you can see his hair.
- Citações
Old Indian: Once upon a time, a woman was picking up firewood. She came upon a poisonous snake frozen in the snow. She took the snake home and nursed it back to health. One day the snake bit her on the cheek. As she lay dying, she asked the snake, "Why have you done this to me?" And the snake answered, "Look, bitch, you knew I was a snake."
- Cenas durante ou pós-créditosThe 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.
- Versões alternativasThe Director's Cut features roughly 4 minutes of material removed from the theatrical version prior to release in order to get a R rating. Here are details of the additional scenes, in chronological order:
- there are three additional shots in the pre-credits scene in the diner. The first is found when Mallory knocks Sonny (Richard Lineback) over the partition. In the theatrical cut, the scene immediately cuts to Sonny's friend (James Gammon) getting up out of his chair to intervene. But in the Director's Cut however, there is an additional shot of Mallory slamming Sonny's head into a table, and blood spraying across the surface of the table. Next, when Mickey slits Sonny's friend's stomach, there are three additional slashes not found in the theatrical cut. Lastly, as Mallory jumps up and down on Sonny's back, there is an additional shot of her grabbing his blood soaked head and pounding it into the ground;
- the death of Ed Wilson (Rodney Dangerfield) has one additional shot as Wilson is leaning up against the wall prior to being dunked into the fish-tank, and Mickey hits him with the tire-iron across the back of the head;
- as Mallory drives to the garage after arguing with Mickey about the hostage (Corinna Laszlo), there is a brief shot of Mickey raping the hostage in the motel room;
- Jack Scagnetti's (Tom Sizemore) murder of Pinky (Lorraine Farris) contains an additional shot of Scagnetti with his hands around her throat and her struggling underneath him, whilst he keeps on saying to her, "I'm only kidding, I'm only kidding";
- when Mickey kills the pharmacist (Glen Chin) at DrugZone, there are two additional shots; one showing the pharmacist's blood spraying onto the glass divide, the other showing the clerk falling to his knees and dying;
- the scene where the police beat up Mallory outside the pharmacist contains a few extra shots of policemen punching her;
- as Mickey attempts to kill the guards in the cell after the interview has been terminated, there are several additional shots showing members of Wayne Gale's (Robert Downey Jr.) crew being shot and killed;
- after Mickey has taken control of the TV crew, he 'persuades' Kavanaugh (Pruitt Taylor Vince) to come with them by breaking his fingers;
- the prison riot sequences contain numerous additional shots. Four particularly obvious ones are: a guard is shoved into a washing machine, which is then turned on; a guard has his head pushed in under a steam press; a guard is thrown into an industrial oven; a guard is flung from the top story of the prison;
- the scene where Scagnetti sprays mace in Mallory's eyes is longer, with a more sustained spraying, whilst the guards hit her;
- a tracking shot in a barber's during the riot show inmates slitting the throats of other inmates;
- during the riot, the scene where the prisoner throws a stick of dynamite into a door way is extended; after the dynamite has been thrown, there is a shot of the explosion and a prisoner being flung from the room and rebounding off the wall;
- in the scene where Mickey rescues Mallory from Jack Scagnetti, there are additional shots of the bullets hitting the guards;
- there are more shots of Jack Scagnetti trashing about on the ground after being stabbed, prior to being shot;
- when Mallory holds the gun to Scagnetti's head and asks him if he still wants her, in the theatrical version, she pulls the trigger immediately. In the Director's Cut, there is a shot of Scagnetti screaming;
- as Mickey, Mallory, and the others flee Mallory's cell, they are ambushed, and Wayne Gale's crew is wiped out. In the theatrical version, little is seen of this, but in the Director's Cut, there are clear shots of his crew being gunned down, especially Julie (Terrylene), who is killed in slow motion;
- during the standoff at the stairs, Dwight McClusky (Tommy Lee Jones) orders the guards to open fire at Mickey because Kavanaugh (Pruitt Taylor Vince), who Mickey is using as a shield, is already dead. In the theatrical version, when McClusky gives the order to fire, there is an awkward cut to Mallory holding Wayne Gale, and the guards never fire. In the Director's Cut, the guards open fire, riddling Kavanaugh's (still living) body with bullets.
- after Mallory shoots Wayne Gale's hand, there is a brief shot through the hole created by the bullet, looking down at McClusky;
- McClusky's death is far more explicit. After being dragged down from the gate by the inmates, in the theatrical version, we never see him again, but in the Director's Cut, after a moment, a prisoner raises a spear, with McClusky's severed head perched on top;
- Wayne Gale's death scene is longer and includes more shots of the bullets hitting him;
- numerous additional shots of the subliminal demons are scattered throughout the film.
- ConexõesEdited from Capitão Sinbad (1963)
- Trilhas sonorasWaiting for the Miracle
Written by Leonard Cohen & Sharon Robinson
Performed by Leonard Cohen
Courtesy of Columbia Records
by arrangement with Sony Music Licensing
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Detalhes
- Data de lançamento
- País de origem
- Idiomas
- Também conhecido como
- Asesinos por naturaleza
- Locações de filme
- Empresas de produção
- Consulte mais créditos da empresa na IMDbPro
Bilheteria
- Orçamento
- US$ 34.000.000 (estimativa)
- Faturamento bruto nos EUA e Canadá
- US$ 50.282.766
- Fim de semana de estreia nos EUA e Canadá
- US$ 11.166.687
- 28 de ago. de 1994
- Faturamento bruto mundial
- US$ 50.287.182
- Tempo de duração1 hora 59 minutos
- Cor
- Mixagem de som
- Proporção
- 1.85 : 1
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