Critic Reviews



Based on 20 critic reviews provided by
Like all good satirists, he knows that too much realism will weaken his effect. He lets you know he's making a comedy. There's an over-the-top exuberance to the intricate crosscut editing and to the hyperactive camera.
Boston Globe
Natural Born Killers is going to be a love-it or hate-it film. But it's an important film. Pumped up, jumped up, yet asking the right questions, [it] is more than an attention-grabber. It's a grenade pitched into the media tent. [26 Aug 1994, p.51]
Chicago Tribune
Natural Born Killers is visually complex and thematically simple. Mixing film and video, black-and-white and color, morphing and animation, Stone breaks visual ground here for a major studio release. [26 Aug 1994, p.B]
The New York Times
Natural Born Killers never digs deep enough. Mr. Stone's vision is impassioned, alarming, visually inventive, characteristically overpowering. But it's no match for the awful truth.
Love it or hate it for its content, one must concede that it is nothing short of a technical marvel.
Berserk from the outset, Natural Born Killers lunges for our collective viscera in its opening sequence (surely one of the most brilliant establishing sequences of all time) and never lets go for the next two hours.
One doesn't leave this movie profoundly shocked about our collectively inured state, or the fact that Stone got us to laugh at caricatured violence. One merely leaves puzzled and wondering: Is that it? He's not telling us anything. He's riffing on a theme and--intentionally or not--contributing to the junk pile he supposedly decries.
Our culture may be drifting toward the sort of calamity that Stone describes in Natural Born Killers, but the hysteria he depicts seems to come from within him. His soul is in turmoil and so he keeps trying to convince us that we're sick.
As a satire on the media's infatuation with violence and murderers, Natural Born Killers hits the bullseye. The problem is, this is a one-note movie. It repeatedly hammers home the same point until the audience is bludgeoned into senselessness.
Rolling Stone
Stone calls this bile satire. But satire takes careful aim; Killers is crushingly scattershot. By putting virtuoso technique at the service of lazy thinking, Stone turns his film into the demon he wants to mock: cruelty as entertainment.

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