Guncrazy

For a school project, promiscuous 15-year-old Drew Barrymore (as Anita Minteer) is instructed to find herself a pen pal. So, she begins writing to 24-year-old prison inmate James LeGros (as Howard Hickok), who is serving time for manslaughter. Through their correspondence, Ms. Barrymore falls in love with Mr. LeGros, and decides to stop having sex with the guys at school, like Rodney Harvey (as Tom) and Jeremy Davies (as Bill). Barrymore also becomes enamored with guns, and learns how to shoot, from absent mother's sexy boyfriend Joe Dallesandro (as Rooney). When Barrymore cuts him off, Mr. Dallesandro turns to rape.

Meanwhile, Barrymore is attempting to get LeGros out of jail, on parole, by convincing snake-charming preacher Billy Drago (as Hank Fulton) that the pistol-whipping prisoner has accepted Jesus Christ as his Lord and Savior. The parole board buys the ruse, and LeGros is good to go. Ironically, he is unable to satisfy Barrymore's sexual appetite. Still, the pair become close companions. Problems arise when Barrymore reveals a deadly secret to LeGros, and the young couple's "Guncrazy" tendencies boil over. Writer Matthew Bright's doomed characters simmer alongside director Tamra Davis' banister end. The cast is a future cult dream.

****** Guncrazy (5/92) Tamra Davis ~ Drew Barrymore, James LeGros, Billy Drago, Rodney Harvey

Guncrazy is directed by Tamra Davis and written by Matthew Bright. It stars Drew Barrymore, James Legros, Ione Skye, Michael Ironside, Joe Dallesandro and Billy Drago. Music is by Ed Tomney and cinematography by Lisa Rinzer.

"Love made them crazy. Guns made them outlaws!"

High schooler Anita Minteer (Barrymore) is abused at home and at school and by so called friends. Seeking some sort of solace, she befriends - via letters - a convict named Howard (Legros). When Howard is paroled, the pair hook up and quickly find a loving bond. A bond that also involves a passion for guns...

In spite of reports in some quarters, this is not a remake of Joseph H. Lewis' superb film noir of the same name (though the words gun and crazy are separated there) from 1950. Whilst it's also worth mentioning that it's not a knock-off of Bonnie and Clyde (outstanding and trailblazing pic for sure), because for that to be the case we would have to ignore the fact that Lewis' film, and the likes of They Live by Night (Nicolas Ray - 1948) , were not key influences and big movers in the lovers on the lam splinter of noir. It is of course, an amalgamation of said influences, and despite a relatively average rating on the big internet movie sites, this is a neo-noir well worth seeking out for those so inclined.

Students of classic era film noir can't but help to be pulled in by the many deviance's at work, themes involving sexual abuse, promiscuity, impotence, alienation, prostitution and foolish love, the latter pitching a classic noir character into a vortex from which they in all probability know they can't return from. It's not that Anita is a femme fatale, because she's so young and isn't written as a viper type, it's that her youthful ignorance, her teenage hormones tortured by a torrid upbringing, is enough for Howard to grasp onto as a semblance of normality. They are both fools, but honest with it, it's the classic romanticised dream going sour. Again, a classic film noir trait.

Visually there is much to recommend here. The use of slatted shadows and balustrade is cunning and nods appreciatively to influences past, the inference obviously that Howard may be out of prison, but he's still behind bars. Davis throws in a number of striking scenes, a camera shot looking out as a grave is dug, our lovers close and personal (sexy) as they shoot guns, and the finale has a sad grace that, "again," noir lovers can appreciate. Matthew Bright's screenplay also has black comedy elements, the script devious with Freudian smarts, while the cast turn in performances worthy of the form.

OK! So this formula has been done better before, and yes we want more of Ironside and Drago (wonderful characters), and this may have underwhelmed those after a gun crazy action thriller - while Barrymore fans back in the day may have been bemused - but it's a very smart and neatly constructed neo-noir. 7.5/10

We thought this film was a remake of the much better film noir of the same title, or as it's known in this forum, "Deadly is the Female", a 1949 Joseph Lewis' film with a screen play by MacKinlay Kantor. But no, this is another film altogether using the same title as the other one. As directed by Tamra Davis, with the screen treatment by Matthew Bright, this is a film that tries to deliver, but in the end, it's predictable, as we know the mistakes of the couple at the center of the story would work against them.

Anita Minteer seems to be a loner. We watch her in school, where she is not a popular girl in any shape, or form. Some of the pot heads from her school take her for a ride in which two end up having sex with her. Anita has been left to fend for herself by her absent mother, who has gone to Fresno to make some money and ultimately have Anita come live with her. Anita is being sexually abused by her mother's good for nothing boyfriend. The girl loves to learn how to use guns, and Rooney, who wants to keeps her, complies. A sad mistake! Her love for guns will ultimately be her downfall and that of the only person that really loved her.

At school, Anita, and her class, have been asked to find a pen pal, as part of a project. She finds one, but unfortunately, Howard, who writes to her, is in jail. Anita finds a kind garage owner, who is also the head of a weird congregation, to vouch for Howard, who is paroled and comes to work in the town. Howard, is a man who has had no luck, either with women, or in anything else. It's sort of inevitable Anita and Howard fall in love and are married by the minister. Fate is against this duo; in a series of events, Howard will go back to his old ways when forced to do so. We realize there's no way out for this doomed man, or for Anita.

The film doesn't disappoint thanks to the charismatic Drew Barrymore playing Anita. This is a girl too wise for her own good. James Legros, is as always, an interesting actor to watch. His take on Howard, is right. In supporting roles, Joe Dallesandro plays Anita mother's boyfriend, a creep that takes advantage of the situation. Michael Ironside is also seen as Howard's parole officer and Ione Skye plays his daughter, Anita's rebellious friend.

Tamra Davis directs with an eye for detail. This film will not disappoint to crime film fans.

Drew is the focus of this feature; for how old she was during the making of this film [15? 16?] she doesn't really disappoint. Her pouty beauty is on ample display in this film. That said, in a couple more years, I think she would have fit more into this role. I wasn't surprised that it was a Matthew Bright script; this has much in common with his later directorial/scripted work "Freeway" in terms of character development. (I feel Bright is an outstanding B-film auteur). Tamra Davis blew some important scenes that could have went another way, but she made up with this with some pretty inspired casting for some of the supporting roles. Ironside, Drago... and I don't remember the sleazy guy who played Drew's mother's boyfriend... but they were all in high style and rare form. You can't beat these guys when they're hitting their cues. LeGros certainly didn't embarrass himself and carved another good portrayal (this guy is a great actor!). For a film that seems to be now so cheap that it's practically in the public domain ($1 DVDs at WalMart and such...) .. I'm surprised this hasn't gotten more recognition, and I'd be sad if it was written off as badly by the producers as I assume it has been to be in such disarray marketing-wise.

Drew Barrymore plays a hick-town lass in denim who meets a struggling young ex-con determined to go legit (you know he's not going to last long--the close-ups of Barrymore's pretty, dangerous smile and gleaming eyes tell you that!). Director Tamra Davis isn't interested in copying old film-noirs (such as "Deadly is the Female"), yet her original set-up isn't very intriguing either. The drowsy material at the beginning with an over-aged Ione Skye doesn't work, and Davis takes a good hour to get the energy pumping. Finally, in its last third, "Guncrazy" starts feeling a little feverish and exciting, the action sequences far out-weighing the canned dramatics. Barrymore has a lovely presence on-screen, but she needs a much tougher director to guide her through the complexities of character, not someone like Davis whose grip on this material just isn't firm enough. ** from ****