American Psycho
by Mary Harron
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DVD Cover Information
Actor: Bill Sage, Chlo? Sevigny, Christian Bale, Josh Lucas, Justin TherouxDirector: Mary Harron
Writer: Guinevere Turner
Writer: Mary Harron
Producer: Alessandro Camon
Producer: Chris Hanley
Producer: Christian Halsey Solomon
Producer: Clifford Streit
Writer: Bret Easton Ellis
DVD: Region Code 1
Audio: English (Original Language), Dolby Digital 5.1
Format: Closed-captioned, Color, Dolby, DVD-Video, NTSC, Widescreen
Picture Format: Anamorphic Widescreen, 2.35:1
Running Time: 101 minutes
DVD Release Date: 2000-09-05
Audience Rating: R (Restricted)
Studio: Universal Studios
Movie Reviews of American Psycho
Movie Review: Guilty Pleasure
Summary: 5 Stars
Back in the 80s, I worked in executive dining rooms in Los Angeles. Major stock brokerages and law firms, for the most part. It's amazing how well that Yuppie era was recreated. The film influenced me to read the book, which is a wonderful expansion of the film. The commentary tracks are very entertaining. Overall, I found the movie to be a terrific horror roller-coaster. The characters were believable, just a couple of degrees away from the real people I dealt with daily when Reagan was king.
Summary of American Psycho
The Bret Easton Ellis novel American Psycho, a dark, violent satire of the "me" culture of Ronald Reagan's 1980s, is certainly one of the most controversial books of the '90s, and that notoriety fueled its bestseller status. This smart, savvy adaptation by Mary Harron (I Shot Andy Warhol) may be able to ride the crest of the notoriety; prior to the film's release, Harron fought a ratings battle (ironically, for depictions of sex rather than violence), but at the time the director stated, "We're rescuing [the book] from its own bad reputation." Harron and co-screenwriter Guinevere Turner (Go Fish) overcome many of the objections of Ellis's novel by keeping the most extreme violence offscreen (sometimes just barely), suggesting the reign of terror of yuppie killer Patrick Bateman (Christian Bale) with splashes of blood and personal souvenirs. Bale is razor sharp as the blank corporate drone, a preening tiger in designer suits whose speaking voice is part salesman, part self-help guru, and completely artificial. Carrying himself with the poised confidence of a male model, he spends his days in a numbing world of status-symbol one-upmanship and soul-sapping small talk, but breaks out at night with smirking explosions of homicide, accomplished with the fastidious care of a hopeless obsessive. The film's approach to this mayhem is simultaneously shocking and discreet; even Bateman's outrageous naked charge with a chainsaw is most notable for the impossibly polished and gleaming instrument of death. Harron's film is a hilarious, cheerfully insidious hall of mirrors all pointed inward, slowly cracking as the portrait becomes increasingly grotesque and insane. --Sean AxmakerThe Bret Easton Ellis novel American Psycho, a dark, violent satire of the "me" culture of Ronald Reagan's 1980s, is certainly one of the most controversial books of the '90s, and that notoriety fueled its bestseller status. This smart, savvy adaptation by Mary Harron (I Shot Andy Warhol) may be able to ride the crest of the notoriety; prior to the film's release, Harron fought a ratings battle (ironically, for depictions of sex rather than violence), but at the time the director stated, "We're rescuing [the book] from its own bad reputation." Harron and co-screenwriter Guinevere Turner (Go Fish) overcome many of the objections of Ellis's novel by keeping the most extreme violence offscreen (sometimes just barely), suggesting the reign of terror of yuppie killer Patrick Bateman (Christian Bale) with splashes of blood and personal souvenirs. Bale is razor sharp as the blank corporate drone, a preening tiger in designer suits whose speaking voice is part salesman, part self-help guru, and completely artificial. Carrying himself with the poised confidence of a male model, he spends his days in a numbing world of status-symbol one-upmanship and soul-sapping small talk, but breaks out at night with smirking explosions of homicide, accomplished with the fastidious care of a hopeless obsessive. The film's approach to this mayhem is simultaneously shocking and discreet; even Bateman's outrageous naked charge with a chainsaw is most notable for the impossibly polished and gleaming instrument of death. Harron's film is a hilarious, cheerfully insidious hall of mirrors all pointed inward, slowly cracking as the portrait becomes increasingly grotesque and insane. --Sean Axmaker
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