Jane Hamsher Movies

Bryan Singer directed this Brandon Boyce adaptation of Stephen King's novella about teenager Todd Bowden (Brad Renfro), who discovers Nazi war criminal Kurt Dussander (Ian McKellen) living in his California hometown. Fascinated with Dussender's wartime atrocities, Bowden blackmails the former death-camp commandant by promising to keep his identity a secret in exchange for Holocaust horror tales, or, as Todd puts it, "everything they're afraid to show us in school." Dussander complies, and as the weeks pass, their tense confrontations become increasingly malevolent. This is the third film to derive from King's 1982 book of four novellas, Different Season. The others are Stand By Me (1986, from "The Body") and The Shawshank Redemption (1994, from Rita Hayworth and the Shawshank Redemption, leaving only one remaining unfilmed tale in the book ("The Breathing Method"). Signet felt King's "Apt Pupil" to be so intense and horrifying that editors asked him to leave it out of the 1983 paperback. A 1987 attempt to film "Apt Pupil" (with Rick Schroder and Nicol Williamson) ended when funding ran out. Shown at numerous 1998 film festivals (Venice, Toronto, Chicago, Sitges, Tokyo). ~ Bhob Stewart, All Movie Guide

A frenetic, bloody look at mass murder and the mass media, director Oliver Stone's extremely controversial film divided critics and audiences with its mixture of over-the-top violence and bitter cultural satire. At the center of the film, written by Stone and Quentin Tarantino, among others, are Mickey (Woody Harrelson) and Mallory (Juliette Lewis), a young couple united by their desire for each other and their common love of violence. Together, they embark on a record-breaking, exceptionally gory killing spree that captivates the sensation-hungry tabloid media. Their fame is ensured by one newsman, Wayne Gale (Robert Downey, Jr.), who reports on Mickey and Mallory for his show, American Maniacs. Even the duo's eventual capture by the police only increases their notoriety, as Gale develops a plan for a Super Bowl Sunday interview that Mickey and Mallory twist to their own advantage. Visually overwhelming, Robert Richardson's hyperkinetic cinematography switches between documentary-style black-and-white, surveillance video, garishly colored psychedelia, and even animation in a rapid-fire fashion that mirrors the psychosis of the killers and the media-saturated culture that makes them popular heroes. The film's extreme violence -- numerous edits were required to win an R rating -- became a subject of debate, as some critics asserted that the film irresponsibly glorified its murderers and blamed the filmmakers for potentially inciting copy-cat killings. Defenders argued that the film attacks media obsession with violence and satirizes a sensationalistic, celebrity-obsessed society. Certain to provoke discussion, Natural Born Killers will thoroughly alienate many viewers with its shock tactics, chaotic approach, and disturbing subject matter, while others will value the combination of technical virtuosity and dark commentary on the modern American landscape. ~ Judd Blaise, All Movie Guide