Asesinos natos

As an avowed idealist, I still feel that crime should be followed by punishment, which is why the questionable ending with Mallory and Mickey didn't sit well with me at all. Sure, it's a satire, but if a psychopath sees it, he or she might interpret the overall tone of the film differently (which apparently actually happened a few times). The film is formally brilliant, though, starting with the opening sitcom and ending with the animated inserts, and I won't go below 4* for this directorial and cinematographic treat. (01.09.2002)

Television and the media became something so hideous and filthy, but at the same time politically correct and sleek, that it began to grotesquely reflect that which we call life. Stone takes this situation to such extremes in Killers that even the dumbest dolt in Texas will know it's definitely not okay. The human mind is sick, and the purest thing hidden in a person is… (13.08.2011)

When it comes to style, there are really a lot of positives here because it's an incredible ride. Whether it's due to the dynamic camera work, which is jittery and intensifies the feelings of frenzy, or the alternating between color and black-and-white shots, not to mention the various filters that further enhance the madness. The story isn't worth delving into; it's not so much about that as it is about showcasing that in today's society, anything can be adored, including unrestrained violence. In this respect, Oliver Stone wins by a landslide with his film. (16.03.2015)

You can think about this film what you want, but you can’t refute the simple fact that it’s damn well and stylishly made. A story by the great QT (there could have been a million adaptations, but the original idea came from him), the all-powerful Oliver Stone behind the camera, Woody Harrelson and Juliette Lewis as popular mass murderers, and Tommy Lee Jones as a crazed prison warden? Well, don't buy it, especially when the story as a whole is such an indescribable directorial exhibition and a mixture of so many great and imaginative scenes that the lack of logic or limits of tolerance is the last thing that can interest the ordinary viewer. It's true that the film could be perfectly inspiring, but anyone with half a brain will realise that it's just a very bold satire and won’t look for anything bad behind it. I can't give it a full score because by the end it becomes insane, but otherwise I can't really say a negative word. That said, the ending was so entertaining that even now the memory of a dishevelled Jones and a mad Downey brings a smile to my face. 85% (02.05.2013)

At the beginning, something came to my mind right away. This is like Tarantino's work, did I accidentally choose the right one? I had picked out the movie a long time ago and somehow forgot what I was getting into, and suddenly a caption appears stating that the subject was indeed from the master of the video store. And even though he tried to detach himself from the movie as much as possible, at times the movie reminded me of Pulp Fiction (that beginning!) and Snatch. Of course, my ignorance is to blame, and after more than 20 years, my insights no longer surprise anyone. Nevertheless, what Oliver Stone presents in the second half is truly unbelievable carnage, even Evil Dead falls short. I stared, I couldn't believe it, my jaw dropped at the end. Whether it's the incredible Tommy Lee Jones, the no less impressive RDJ, or the uncompromising editing interleaved with comic strips, black and white, and who knows what else. I've always preferred Stone as a messiah of historical reality, but not even Quentin could have handled this, and in my opinion, he was just envious back then, as the throne of Pulp Fiction was strongly threatened. It's a shame that this piece mostly went unnoticed, probably because no TV station is likely to broadcast it anytime soon... 7.5/10 (11.03.2017)