25-year-old Natural Born Killers: Oliver Stone's Hot Movie Issue | film

yenatural Born Killers came to the theater a few months after OJ Simpson's infamous flight in Whiteford Bronco on June 26, 1994. At the time, director and co-author Oliver Stone could not anticipate the scale of the spectacle that the scandal would change, 24 hours of news speculation, and the greed of the public's morbid appeal to the massacre in general. The trial did not begin in earnest until January of next year, but there is juice filled at the last minute of Stone's blooded road movie. His hanging face amazes the screen in a swirling montage of shocking images closing the movie. Canning is a symbol of toxic symbiosis between the American killer epidemic and the culture of a TV press fed by Stone Rail. Simpson is an unknown warning that only appears for 1 second.

The craze of the Simpsons trial and the sidewalk surrounding it will illustrate the sociological feedback loop that has already formed Stone's goal of wildly passed criticism. Natural Born Killers now celebrates the 25th anniversary of its first release, bringing the Vampire News Industrial Complex and taking an irresponsible way to deal with the most deadly crimes. Mickey (Woody Harrelson) and Mallory (Juliette Lewis) rape, torture, and ruthlessly murder the outlaws, but the most villain in the film could be a desolate yellow reporter and master of blatant and ruthless truth, Robert Downey Jr. Crime Program American Maniac. He glorifies his exploitation for an audience who wants to eat his reckless sensationalism, and eventually Mickey and Malory continue to raise his slaughters. Violence breeds fame, violence, fame, and on and on.

Stone suggested that the United States was sick with symptoms of maniacs like Mickey and Mallory. And since Stone sat in the deadly satire, the suffering of the homme deed celebrity has not disappeared. Massive shooting, a horrible new concept when Columbine's "Trench Coat Mafia" first started ongoing discussions in 1999, is now so common that we can't keep track of them all. We completely abandoned the principle of "don't print the name of the murderer." Rolling Stone devoted himself to the portrait of Jim Morrison-esque of Boston bomber Dzhokhar Tsarnaev in July 2013, and has echoed Stone's sentiment from decades ago. His vision on paper will look more than ever before.

But in reality, his theory feels simple and passable, from Freud's adjacency analysis of his character's inadequacy to the media being portrayed as a big bad bookkeeper. Progressive party lines for box offices like Mickey and Mallory have moved to the point where blazing headlines or TV cameras are now registered as dodge, in the same way gunshot video games have become a biased dialogue point.

Stone's method with a privileged style and cinematic effect on the nuances of ideology further flattens the commentary by condemning the whole media. While Stone portrays Mallory's backfire on home life, which is horribly abused in the style of I Love Lucy episode (in the style of the I Love Lucy episode, Stone is completed as a vicious rapist father played by Dangerfield), Mandatory happy endings mock up. Every 30 minutes. He argues that American families have been selling wrong merchandise tickets by popular culture, and that their inability to achieve sparkling happiness standards has shaken their hearts. But as diagnostics of the nationwide disease progress, it is blinking perceptions of the bigger picture that endured the cynical 90s accusations that “TV lied to us”.

Juliet Lewis and Woven Harrelson

Juliet Lewis and Woody Harrelson Photo: Moviestore / REX Shutterstock

While wandering under the influence of the shiloshi bean mushroom, Mickey and Mallory visit a Navajo shaman named Red Cloud, which clarifies the objection to the modernity of the stone and binds defects in it. Filmmakers introduce Warren Red Cloud as foil for all the defining aspects of the world of Mickey and Mallory. He is in spirituality where everyone else is dedicated to the intensity of the industry. He is fine, not selfish, in places where others are greedy and malicious. It was coded orthodox where everything else is scattered in crap. Stone is eager for all the pitfalls associated with white understanding of Aboriginal culture, imagining this human as a conduit between mortals and the supernatural world, and is more pure than white companions.

He paints with a brush as he moves his attention away from the outskirts of the desert and returns to the mainstream of civilization. Here he can not take into account or resort to the complexity of the complex topics he chooses. Stone insists on the protective barriers of caricature around his skills, insisting that everything is in turmoil when he inevitably faces criticism. Downey Jr. offers meteor tragedy hounds parody, just like Tommy Lee Jones does a comic-like spin to the little cops like a hot and ruthless warden on the trail of antiheroes. Stone prefers the outline of the character to the actual character, which is twice as big as his idea.

In all public blood baths, discourse is closer to accepting the root cause by the combination of the root total law and the undercurrent of psychosis for feelings of alienation in society. Stone's request may have shocked the system at the time, but his borderline response to today's sensibilities traces his psychosis to the evils of television scanning. This is not a lack of enlightenment comparable to past processes, but an intellectual defect approach by standards of any age. Simpson became famous for not killing (probably) Nicole Brown Simpson, and ignoring his trial would not have prevented a similar incident in the future. This problem falls deeper into the Ugly Growl ID of the United States than the alleged Stone goes beyond the film. Perhaps he saw the harmful effects of the media only as a problem, as part of the media was influenced by the many imitation crimes inspired by the film.



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