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Based on Bret Easton Ellis’ controversial fresh American Psycho, this film tells the epic 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 unique, the film is more of a shaded social comedy than a right apprehension record. Bateman dresses and talks like all the other wealthy, young Wall Street crowd, and thus unsuitable identity plays a grand share in his getting away with grisly murders again and again. Bateman’s enjoy grip on reality begins to blur over time and at various times throughout the movie it’s quite definite that Patrick’s plan 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 bear agenda and the main worry of Bateman’s friends is which extravagant restaurant to dine at next, or getting the latest and greatest business card to mark one another.

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Casting Christian Bale was a knowing 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 consider anyone could’ve captured Patrick Bateman’s personality more flawlessly than Bale, who gave an incredible, 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. Grand of the dialogue in the film is taken directly from Ellis’ book, and the horrific violence of the book was toned down considerably, with noteworthy of it taking location off camera. Many viewers don’t seem to luxuriate 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 original “Killer Collector’s Edition” is a mixed bag as far as worthwhile special features go. The documentary “From Book to Hide” is in depth but instead of having fresh interviews with the stars there are mostly dreary interviews with film critics. Plus, it seemed like there was map too worthy coverage of the original and very microscopic on the staunch 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 accepted special feature (and probably the main reason why you should by this edition) is the director’s commentary which tells lots of enthralling leisurely the scenes info. And, the portray and sound quality are better than ever! American Psycho IS NOT a film for everyone, but for those who luxuriate in bright satires with a slight fear mixed in, this unique classic is a positive must for your DVD collection! And before you assume or even peek this movie, you should read Ellis’ unusual to be pleased the whole, uncensored myth.

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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 trustworthy news is, perhaps, that the film is nowhere advance as terrifying and gory as both its subject matter and its controversial nature would lead one to hold. 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 sight on the then-brand modern, 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 – glowing first-rate looks, a astonishing 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 veil the legal 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 view 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 scrutinize him becoming almost emotionally unglued because he fears he will not be able to reserve the excellent 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 current 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 upright “stuff” to form it that map. 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 collect 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 comical rather than thriller mode. The brittle, dryly silly Mary Harrion/Guinevere Turner screenplay mines the corporate world milieu and the bent rantings of a values-free mind for all their sad comedy potential. Christian Bale brings a noteworthy subtlety to a mopish role, managing to seem coolly alluring, chillingly quiet, touchingly pathetic and wryly comical all at the same time. Special credit should go to the stark, almost antiseptic spy the filmmakers enact through the art direction and situation do, a perceive that matches in visual terms the fair and emotional emptiness of the characters and their world.

Much was made of the anti-woman tone of the recent 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 acquire ourselves not so mighty appalled as sadly bemused by the vehemently anti-women comments uttered by Patrick and his cronies because we peer what shallow losers these men really are. Harrion and Turner obviously know whereof they train.

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To reiterate, “American Psycho” may not be everyone’s cup of cinematic tea, but those looking for a bewitching slight satire of unusual American life will score some determined rewards.
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