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Based on Bret Easton Ellis’ controversial new American Psycho, this film tells the fable of an 80’s yuppie named Patrick Bateman (played by Christian Bale) who works on Wall Street by day and kills people by night. Like the often misunderstood new, the film is more of a black social comedy than a trusty awe chronicle. Bateman dresses and talks like all the other wealthy, young Wall Street crowd, and thus improper identity plays a astronomical allotment in his getting away with repulsive murders again and again. Bateman’s believe grip on reality begins to blur over time and at various times throughout the movie it’s quite distinct that Patrick’s concept of reality is a sick, homicidal dream of endless torture and killing. Even when Bateman confesses at one point, no one listens or seems to care. Everyone has their believe agenda and the main danger of Bateman’s friends is which extravagant restaurant to dine at next, or getting the latest and greatest business card to notice one another.
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Casting Christian Bale was a lustrous choice by director Mary Harron, who almost got fired from the project because of not choosing Leonardo DiCaprio for the starring role. I honestly don’t assume anyone could’ve captured Patrick Bateman’s personality more flawlessly than Bale, who gave an fantastic, chilling performance. And casting Reese Witherspoon as the prissy, bubble-brained Evelyn, who’s engaged to Bateman but knows nothing of his psychotic, homicidal behavior, was a perfect choice. Great of the dialogue in the film is taken directly from Ellis’ book, and the horrific violence of the book was toned down considerably, with worthy of it taking area off camera. Many viewers don’t seem to indulge in the frequent humor in American Psycho, such as the various times Bateman says crazy things like, “I’m into murders and executions” that no one seems to hear. And his philosophical ramblings about the music of Huey Lewis & the News, Phil Collins, and Whitney Huston are hysterical!
The modern “Killer Collector’s Edition” is a mixed bag as far as worthwhile special features go. The documentary “From Book to Cover” is in depth but instead of having modern interviews with the stars there are mostly dead interviews with film critics. Plus, it seemed like there was scheme too great coverage of the unusual and very petite on the exact shooting of the film. There’s a lame video essay read by some singer and a documentary on the `80s. Thankfully, there are several deleted scenes (with optional director’s commentary) as well as several comical trailers. My approved special feature (and probably the main reason why you should by this edition) is the director’s commentary which tells lots of tantalizing gradual the scenes info. And, the represent and sound quality are better than ever! American Psycho IS NOT a film for everyone, but for those who relish colorful satires with a dinky fright mixed in, this current classic is a positive must for your DVD collection! And before you think or even stare this movie, you should read Ellis’ fresh to like the whole, uncensored epic.
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“I like to dissect girls. Did you know I’m utterly insane? ” -P. Bateman
No doubt about it, Mary Harrion’s “American Psycho” is definitely not for every taste and audience demographic. The top-notch news is, perhaps, that the film is nowhere arrive as frightful and gory as both its subject matter and its controversial nature would lead one to bear. In fact, its tone of ironic funny detachment helps to de-emphasize the more sordid aspects of the material and to instead highlight the film’s bitingly satiric message.
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Set in the mid-1980’s, “American Psycho” casts a scathing see on the then-brand unique, up-and-coming group of 20-something executives known as “yuppies.” Patrick Bateman, the psycho of the title, is a man who literally seems to have everything – attractive genuine looks, a amazing physique, a elegant fiancé, a diploma from Harvard and a successful career as a Wall Street executive. Yet, alone of the young men with whom he consorts, Patrick flatly admits to us in voice-over narration that he is literally an empty-suit – that his perfectly maintained outer appearance, seemingly well-ordered social routine and empty, superficial personal relationships merely cloak the good emptiness that lurks at the core of his soul. Distinguished of the complexity of Patrick’s character comes from the fact that he seems, paradoxically, to be both obsessed with the understanding of conforming to the values of the world he lives in, and, at the same time, being strangely conscious of their unreality and meaninglessness. Thus, we behold him becoming almost emotionally unglued because he fears he will not be able to reserve the capable table at a posh upscale restaurant or because he feels that one of his corporate buddies has a more impressive looking business card than he does. Powerful of Patrick’s madness has its roots in the kind of obsessive-compulsive paranoia that arises from the fresh insistence that life should and, indeed, can be converted into a perfect, problem-free existence if one objective has enough money and a sufficient amount of the accurate “stuff” to get it that scheme. Frankly admitting that he feels no emotional attachment to any other human beings, Patrick is thereby free to channel his madness into its ultimate anti-social, taboo-shattering shape and form: serial killing. Thus, as days turn to nights, Patrick begins to rack up his victims and potential victims – a homeless man, assorted prostitutes, an ex-girlfriend, an unctuous business associate, even some policemen who score wise to his activities later in the film.
Luckily for the squeamish among us, far more of the film’s running time is devoted to a droll rather than thriller mode. The brittle, dryly comic Mary Harrion/Guinevere Turner screenplay mines the corporate world milieu and the hooked rantings of a values-free mind for all their shadowy comedy potential. Christian Bale brings a considerable subtlety to a testy role, managing to seem coolly alluring, chillingly still, touchingly pathetic and wryly humorous all at the same time. Special credit should go to the stark, almost antiseptic scrutinize the filmmakers carry out through the art direction and dwelling acquire, a perceive that matches in visual terms the lawful and emotional emptiness of the characters and their world.
Much was made of the anti-woman tone of the current at the time of its initial release. Perhaps because the writers and the director are themselves women, the movie seems to have toned down that aspect quite a bit. Indeed, as in a movie like “In the Company of Men,” we bag ourselves not so grand appalled as sadly bemused by the vehemently anti-women comments uttered by Patrick and his cronies because we discover what shallow losers these men really are. Harrion and Turner obviously know whereof they scream.
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To reiterate, “American Psycho” may not be everyone’s cup of cinematic tea, but those looking for a challenging small satire of original American life will accept some distinct rewards.
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