People are voting emotionally.

I was totally surprised at how great this film.You could feel your paranoia rise as the film went on and as you gradually learned the details of the real situation.

Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

Guncrazy is directed by Tamra Davis and written by Matthew Bright. It stars Drew Barrymore, James Legros, Ione Skye, Michael Ironside, Joe Dallesandro and Billy Drago. Music is by Ed Tomney and cinematography by Lisa Rinzer."Love made them crazy. Guns made them outlaws!"High schooler Anita Minteer (Barrymore) is abused at home and at school and by so called friends. Seeking some sort of solace, she befriends - via letters - a convict named Howard (Legros). When Howard is paroled, the pair hook up and quickly find a loving bond. A bond that also involves a passion for guns...In spite of reports in some quarters, this is not a remake of Joseph H. Lewis' superb film noir of the same name (though the words gun and crazy are separated there) from 1950. Whilst it's also worth mentioning that it's not a knock-off of Bonnie and Clyde (outstanding and trailblazing pic for sure), because for that to be the case we would have to ignore the fact that Lewis' film, and the likes of They Live by Night (Nicolas Ray - 1948) , were not key influences and big movers in the lovers on the lam splinter of noir. It is of course, an amalgamation of said influences, and despite a relatively average rating on the big internet movie sites, this is a neo-noir well worth seeking out for those so inclined.Students of classic era film noir can't but help to be pulled in by the many deviance's at work, themes involving sexual abuse, promiscuity, impotence, alienation, prostitution and foolish love, the latter pitching a classic noir character into a vortex from which they in all probability know they can't return from. It's not that Anita is a femme fatale, because she's so young and isn't written as a viper type, it's that her youthful ignorance, her teenage hormones tortured by a torrid upbringing, is enough for Howard to grasp onto as a semblance of normality. They are both fools, but honest with it, it's the classic romanticised dream going sour. Again, a classic film noir trait.Visually there is much to recommend here. The use of slatted shadows and balustrade is cunning and nods appreciatively to influences past, the inference obviously that Howard may be out of prison, but he's still behind bars. Davis throws in a number of striking scenes, a camera shot looking out as a grave is dug, our lovers close and personal (sexy) as they shoot guns, and the finale has a sad grace that, "again," noir lovers can appreciate. Matthew Bright's screenplay also has black comedy elements, the script devious with Freudian smarts, while the cast turn in performances worthy of the form.OK! So this formula has been done better before, and yes we want more of Ironside and Drago (wonderful characters), and this may have underwhelmed those after a gun crazy action thriller - while Barrymore fans back in the day may have been bemused - but it's a very smart and neatly constructed neo-noir. 7.5/10

Drew is the focus of this feature; for how old she was during the making of this film [15? 16?] she doesn't really disappoint. Her pouty beauty is on ample display in this film. That said, in a couple more years, I think she would have fit more into this role. I wasn't surprised that it was a Matthew Bright script; this has much in common with his later directorial/scripted work "Freeway" in terms of character development. (I feel Bright is an outstanding B-film auteur). Tamra Davis blew some important scenes that could have went another way, but she made up with this with some pretty inspired casting for some of the supporting roles. Ironside, Drago... and I don't remember the sleazy guy who played Drew's mother's boyfriend... but they were all in high style and rare form. You can't beat these guys when they're hitting their cues. LeGros certainly didn't embarrass himself and carved another good portrayal (this guy is a great actor!). For a film that seems to be now so cheap that it's practically in the public domain ($1 DVDs at WalMart and such...) .. I'm surprised this hasn't gotten more recognition, and I'd be sad if it was written off as badly by the producers as I assume it has been to be in such disarray marketing-wise.

I am always excited to see the darkness of cinema's past, but continually happy with its progress and evolution over the years. If the genre displayed in Guncrazy would have remained throughout the cinematic years, I think I would have had to choose a different hobby other than film. Here we have a very gritty, very disturbing film, which just never seems to leave the hangar. I continually felt that Guncrazy was this grounded plane never geared for takeoff, which was disappointing because several times it seemed as if it was ready for lift-off. Director Tamra Davis has her work cut out for her on this picture. It surprised me that the woman who brought us Billy Madison, Half-Baked, and Crossroads would dare dabble in a project like this … yet she did, and I don't think that she succeeded. Matthew Bright, the guy who brought us Freeway, has a very crafted story, but I believe that it is Davis' direction, coupled with disappointing acting that ultimately destroys this film.Think about this for a minute. When you are directing a film of this caliber, you as a director need to realize that it is more than just a story about sexual teens and violence, but instead a haunting image of our world, culture, and society. As I watched this film, I couldn't help but see (and sometimes hear) Bright's angst-ridden voice about our society trying to come through, but it felt that Davis was pushing that aside in hopes to give Drew more screen time. We kept scratching on the surface of guns and violence, but never quite dug deep enough. There was so much that should have happened with this story, that Bright's words were completely ignored and left for Davis to butcher. I believe that if Bright would have manned this project, we may have seen stronger characters, deeper emotions and themes, all the while exposing truths about our society. These were elements that were lacking considerably in this film. While it is said that Davis tried to avoid making a remake of Crazy is the Female, I believe that the older film spoke more about society than this film did. Davis covered up truths and intelligence with overly clichéd shock moments coupled with silly, incoherent violence.With Davis practically missing the mark behind the camera, this left nothing for the actors. Barrymore decently tries to fill the shoes of this innocent 17-year old that only wanted love and would do anything for it, but the lacking chemistry between her and LeGros overshadows her performance. I felt as if Davis could only afford a portion of LeGros for this film and most of the time he was replaced with a cardboard cut-out of himself. He gave no emotion to his character. I realize that he was to show how corrupt the world had been to him, but does that mean he cannot smile, frown, show fear, excitement, hatred, distrust, love, or any range of emotions that come with being an actor. LeGros hurt this film. Typically, I like his performances, but I don't think he was ready, nor did it seem that he really wanted this role. This hurt the foundation of the film. Here we have Barrymore giving a decent performance, but LeGros doesn't hold up his end of the bargain, which ultimately hurts any support that we have for our heroines.While I sternly believe that Davis destroyed the overall tone of the film and LeGros' cardboard image impeded any connection with Barrymore, there were some scenes that I thought Bright exceptionally wrote into this film. My favorite scene in the entire film was when Anita and Howard were together at the house living a life that could never be theirs. It was so interesting to see these two victims of poverty living, breathing, and experiencing a physically imaginative world. Then, a pivotal changing moment in the film occurs and it really places this film into a different perspective. I wasn't expecting this type of change in the film, and it really showcased what Bright was trying to accomplish. Another scene that I enjoyed occurred right before this monumental scene, when Hank is just about to be arrested by his parole officer. He screams down the hall of the hospital, and all Anita responds with is, "What's he yellin' about now?" This shocked me because it completely tore down any barriers that I thought I already knew about Anita and Hank's relationship. Was there a level of comfortability settling in with the relationship? Interesting turn, which captured my attention. Sadly, the remaining scenes were just a flagrant disrespect to Bright's darkening talent.Overall, I wasn't impressed with this film. I strongly suggest it to those who are big Matthew Bright fans, but we forewarned this is not as exceptional or as shocking as Freeway was. This was a film completely chastised by Tamra Davis and James LeGros. Barrymore decently carries herself, a la Reese Witherspoon in Freeway, but it just doesn't come together smoothly. The overall tone and elements are completely missing as Davis implements increasing scenes of shock value instead of stronger elements of society. It is difficult to watch, not because of what occurs in the film, but because of the lack of direction, acting, and overall momentum. The final result seems more like a cheaply tailored small tuxedo on a very large man. It covers the wrong spots. Skip it. You will live life happier.Grade: ** out of *****

OK anyway Drew and James are two people in love right? So what really confuses me is at the end of the movie when they are in their hideout and the cops arrive James (Howard) is shot in the face then gets shot in the chest plenty of times then he falls down the steps and dies Drew (Anita) just runs down the steps and crys a cop helps her up (her friends dad) and walks her outside then I hear her say "He made me do it" I was like "What?" I know she made a promise she would say that but if that was me and I was in love with someone that cute I would have shot myself on the spot I wouldn't have sat there and wasted time crying I wouldve shot myself knowing I could never live without him and thats what love is right? So this point in the movie really made me cry my eyes out seeing a really hot guy die and his lover says "He made me do it". This movie is a tear jerker. I would rate it *** out of *****.