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Based on Bret Easton Ellis’ controversial recent American Psycho, this film tells the memoir 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 fresh, the film is more of a dim social comedy than a proper fear narrative. Bateman dresses and talks like all the other wealthy, young Wall Street crowd, and thus incorrect identity plays a immense fraction in his getting away with ugly murders again and again. Bateman’s gain grip on reality begins to blur over time and at various times throughout the movie it’s quite determined that Patrick’s conception 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 possess agenda and the main anguish of Bateman’s friends is which extravagant restaurant to dine at next, or getting the latest and greatest business card to brand one another.
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Casting Christian Bale was a radiant 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 believe anyone could’ve captured Patrick Bateman’s personality more flawlessly than Bale, who gave an astonishing, 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 mighty of it taking location off camera. Many viewers don’t seem to be pleased 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 unusual “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 recent interviews with the stars there are mostly stupid interviews with film critics. Plus, it seemed like there was plan too considerable coverage of the current and very exiguous on the right 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 laughable trailers. My accepted special feature (and probably the main reason why you should by this edition) is the director’s commentary which tells lots of lively gradual the scenes info. And, the characterize and sound quality are better than ever! American Psycho IS NOT a film for everyone, but for those who be pleased smart satires with a minute anxiety mixed in, this novel classic is a determined must for your DVD collection! And before you consider or even spy this movie, you should read Ellis’ unusual to bask in 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 edifying news is, perhaps, that the film is nowhere advance as homely and gory as both its subject matter and its controversial nature would lead one to absorb. In fact, its tone of ironic humorous 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 leer on the then-brand novel, 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 - aesthetic capable looks, a amazing physique, a handsome 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 shroud the accurate emptiness that lurks at the core of his soul. Noteworthy of the complexity of Patrick’s character comes from the fact that he seems, paradoxically, to be both obsessed with the concept 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 seek him becoming almost emotionally unglued because he fears he will not be able to reserve the safe 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. Noteworthy of Patrick’s madness has its roots in the kind of obsessive-compulsive paranoia that arises from the new insistence that life should and, indeed, can be converted into a perfect, problem-free existence if one unbiased has enough money and a sufficient amount of the upright “stuff” to manufacture it that contrivance. 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 secure 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 humorous rather than thriller mode. The brittle, dryly laughable Mary Harrion/Guinevere Turner screenplay mines the corporate world milieu and the crooked rantings of a values-free mind for all their dim comedy potential. Christian Bale brings a mighty subtlety to a morose role, managing to seem coolly alluring, chillingly mild, touchingly pathetic and wryly droll all at the same time. Special credit should go to the stark, almost antiseptic perceive the filmmakers attain through the art direction and spot perform, a recognize that matches in visual terms the legal and emotional emptiness of the characters and their world.
Much was made of the anti-woman tone of the modern 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 win ourselves not so powerful appalled as sadly bemused by the vehemently anti-women comments uttered by Patrick and his cronies because we contemplate what shallow losers these men really are. Harrion and Turner obviously know whereof they bellow.
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To reiterate, “American Psycho” may not be everyone’s cup of cinematic tea, but those looking for a animated petite satire of unique American life will rep some certain rewards.
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