In Detroit, a lonely pop culture geek marries a call girl, steals cocaine from her pimp, and tries to sell it in Hollywood. Meanwhile, the owners of the cocaine - the Mob - track them down in an attempt to reclaim it.
Mickey Knox and Mallory Wilson aren't your typical lovers - after killing her abusive father, they go on a road trip where, every time they stop somewhere, they kill pretty well everyone around them. They do however leave one person alive at every shootout to tell the story and they soon become a media sensation thanks to sensationalized reporting. Told in a highly visual style. Written by
The film was originally going to be shot in Panavision, as Oliver Stone's previous four films had been, but he decided that it should be framed in standard 1.85:1. The Panavision E-Series anamorphic lenses that had been reserved for the film were used to shoot The Pelican Brief (1993) instead. See more »
When Scagnetti is in the room with the prostitute, her bra keeps disappearing and re-appearing ("Director's Cut"). See more »
Wherever we go, whatever happens, Mickey, when I look up at the stars, I'll know you'll be lookin' up at the same ones.
Same ones, baby.
You make everyday feel like kindergarten.
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The 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. See more »
What I found so bizarre about this movie is that this movie itself is guilty of what it accuses the media of doing. Yes, the media irresponsibly glorifies violence, but this movie ended up being the worst offender of them all. Okay, this movie defines the problem, this movie BECOMES the problem, and offers absolutely no suggestion on how to fix the problem, which makes it appear to me that Tauranteno and Stone are just two wise guys sitting on the sidelines taking potshots. Rule One of Satire: Don't be a hypocrite. Also, did anyone NOT see that end coming? A waste of time.
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