Kaiden and the Blog

Based on Bret Easton Ellis’ controversial recent 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 unusual, the film is more of a murky social comedy than a loyal dread narrative. Bateman dresses and talks like all the other wealthy, young Wall Street crowd, and thus incorrect identity plays a spacious share in his getting away with repugnant murders again and again. Bateman’s contain grip on reality begins to blur over time and at various times throughout the movie it’s quite certain that Patrick’s idea 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 have agenda and the main distress of Bateman’s friends is which extravagant restaurant to dine at next, or getting the latest and greatest business card to imprint one another.

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Casting Christian Bale was a gleaming 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 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. Considerable of the dialogue in the film is taken directly from Ellis’ book, and the horrific violence of the book was toned down considerably, with grand of it taking space 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 unique “Killer Collector’s Edition” is a mixed bag as far as worthwhile special features go. The documentary “From Book to Mask” is in depth but instead of having novel interviews with the stars there are mostly insensible interviews with film critics. Plus, it seemed like there was contrivance too mighty coverage of the new and very small on the accurate 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 funny 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 inviting tedious the scenes info. And, the relate and sound quality are better than ever! American Psycho IS NOT a film for everyone, but for those who like vivid satires with a minute apprehension mixed in, this fresh classic is a certain must for your DVD collection! And before you assume or even eye this movie, you should read Ellis’ new to indulge in the whole, uncensored fable.

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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 fine news is, perhaps, that the film is nowhere approach as homely and gory as both its subject matter and its controversial nature would lead one to contain. 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 perceive on the then-brand recent, 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 – sparkling worthy looks, a incredible physique, a blooming 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 conceal the upright emptiness that lurks at the core of his soul. Great of the complexity of Patrick’s character comes from the fact that he seems, paradoxically, to be both obsessed with the opinion 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 respectable 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. Mighty 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 fair has enough money and a sufficient amount of the moral “stuff” to produce it that intention. 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 salvage 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 amusing rather than thriller mode. The brittle, dryly silly Mary Harrion/Guinevere Turner screenplay mines the corporate world milieu and the crooked rantings of a values-free mind for all their dark comedy potential. Christian Bale brings a grand subtlety to a spiteful role, managing to seem coolly alluring, chillingly calm, touchingly pathetic and wryly funny all at the same time. Special credit should go to the stark, almost antiseptic explore the filmmakers conclude through the art direction and dwelling accomplish, a peep that matches in visual terms the just and emotional emptiness of the characters and their world.

Much was made of the anti-woman tone of the fresh 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 obtain ourselves not so noteworthy appalled as sadly bemused by the vehemently anti-women comments uttered by Patrick and his cronies because we search for what shallow losers these men really are. Harrion and Turner obviously know whereof they protest.

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To reiterate, “American Psycho” may not be everyone’s cup of cinematic tea, but those looking for a piquant small satire of unique American life will come by some clear rewards.
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