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Ian Scott and Henry Thompson

cinematic critiques including Reds (Warren Beatty, 1981), Missing (Costa Gavras, 1982), Silkwood (Mike Nichols, 1983), and of course Stone’s own Salvador (1986), Platoon (1986) and Wall Street. By the time that Natural Born Killers arrived in cinemas, US audiences were more likely to be savouring The Bodyguard (Mick Jackson, 1992), Jurassic Park (Steven Spielberg, 1993), Forrest Gump (Robert Zemeckis, 1994) and The Lion King (Roger Allers and Rob Minkoff, 1994). Only in Quentin Tarantino’s Pulp Fiction (1994), fêted by the Academy with a Oscar for Best Screenplay and six

in The cinema of Oliver Stone
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Ian Scott and Henry Thompson

one of several niche directors who sought to strike a different tone and maintain some of the agendas set by Pakula and Coppola a decade earlier. Alongside him, Warren Beatty, Constantin Costa-​Gavras and Mike Nichols all made important contributions to Hollywood’s more daring liberal wing, with movies such as Reds (1981), Missing (1982) and Silkwood (1983). The Russian Revolution, South American politics and corporate and political cover-​ups seemed unlikely subjects for critical let alone commercial successes during the decade, but each of the directors bucked the

in The cinema of Oliver Stone