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Natural Born Killers (1994)

NOTE: This commentary is only available on the director's cut DVD release.

Commentaries on this disc:

Commentary 1: Director Oliver Stone Rating:7.9/10 (16 votes) [graph]Login to vote or review
Reviewed by Blunt on June 7th, 2004:Find all reviews by Blunt
For my money, Stone is just about the best there is at the commentary game. He's lucid and knowledgeable and he comes to the table prepared.
If you can't stand him or his politics, his commentaries aren't going to change your opinion.

That said, I don't like all his films, and I was pretty lukewarm about NBK when I saw it in the cinema. The best thing I can say for this track is that I really found myself re-assessing it in the light of his comments. It's still not a film I love, but I understand his reasons for making the decisions he made.

As ever, Stone is no-nonsense about the extreme circumstances of the film's production and on what he thought of Tarantino's original script. There's no sycophancy here and no pointing out his cousin on the left by the shopfront - none of the trivia that afflicts so many commentaries. You might end up throwing the disc out of the window but it WON'T be because you're bored.
Reviewed by Jchgf on September 1st, 2006:Find all reviews by Jchgf
Whenever I feel down or need a morale booster, I pop in this commentary track and skip to the last chapter, where Oliver speaks of creativity, love and dark times over Leonard Cohen's "The Future". It almost sounds like poetry to me.
Reviewed by Bickle, T. on July 23rd, 2009:Find all reviews by Bickle, T.
Stone, with his steady, soothing voice, is the perfect catalyst for the grisly images the film presents. He is wonderful at explaining and justifying the violence of the movie. Another great, thorough Stone track.
Reviewed by Magneat-o on March 6th, 2015:Find all reviews by Magneat-o
Oliver Stone's commentary always seems to come out of left field regarding aspects of the film. He talks more about the inspiration for the interpretations of the story he's directing. ( Eg; ' I wanted to portray this mans sense of loss over this situation because yada, yada' ). Basically how he took the story and shaped it into his own point of view. There are very few technical aspects but occasionally a few insights into his methods of filmmaking.

He's often morose and a little too serious so expect something humorless from him always.
I think he sees himself as some sort of seer and sagely poet for the masses and while that could be a noble thing, his line of thinking is also devoid of life and levity.
He's a dark brooding sort of guy. So is this film. It's a spit in the eye of mass media and consumerism. An angry one. It's his punk film. The audience didn't get it. Few people would, except for Oliver himself of course.

At the end of the movie there's this diatribe against society and the media which sums up a few of his philosophies. It's very insightful and it gives a glimpse into his motivation in the making of this film.
Reviewed by grimjack on January 2nd, 2020:Find all reviews by grimjack
He sounds a little tired watching it (but maybe anyone would when the visuals are so energetic and chaotic), and a little repetitive at times merely describing the various film stocks used from edited shot to edited shot, but still a really great commentary. He points out the important minutes forcibly cut out by the MPAA, lost backstories of minor characters, and alternate takes that he decided not to use.

He speaks about the overall meanings and the message he was trying to get out (and I am still not sure I get in its entirety). He brings up that films are about behavior; and guide us or tell us how we should behave.

He amazingly points out the audacity to have long single takes that he then chops up with closeups and a change of stock, to keep it chaotic. He talks about things that were cut that he did not think were as bad as other stuff he was allowed to keep in (and mentions how in Japan and Germany they never would have had a problem with them).

There is even one scene towards the end that he laments having filmed it wrong, and how he would definitely change it if he made it again. And he talks about various inspirations, naming names, to things like Geraldo Rivera, National Enquirer, corporations and media, and the prison system.

Not seen in the commentary but on the Laserdisc are some deleted scenes, one of which is phenomenal, where a literal guardian angel (or demon) is scattered throughout the film, and ends up killing the leads at the end. We see him throughout the film in the backgrounds, sometimes even fading away, but in a film shot like this he does not even stand out, but Stone points him out throughout the commentary.