Gemma is 13 years old lives with her grandpa in the country, she has for many years. One day her mother shows up, and wants to take Gemma to the city. Her mother is married now, and can ... See full summary »
An author who returns to his hometown to deliver a commencement address to a class of graduating high school students has to deal with his feelings for an old flame as well as the advances of a student who has the hots for him.
Justin Sayer suffers from a mental illness which causes vivid hallucinations. The voices in his head have caused him to isolate himself from the world and from his two year old son. After ... See full summary »
Loosely connected stories capture a week in L.A. in 1983, featuring movie executives, rock stars, a vampire and other morally challenged characters in adventures laced with sex, drugs and violence. Written by
The original script was over two hours long and featured storylines not included in the final cut. According to screenplay writer Bret Easton Ellis, early cuts of the film, though vastly different than his original screenplay, made for a tighter narrative and an overall more cohesive film. Ellis claims that the shorter the film got with every subsequent cut, the less sense it made. See more »
The first traffic scene shown there is a C-4 generation Corvette (came out in 1984 there was no 1983 model) and a first generation Ford Taurus (came out in 1986). See more »
"The Informers" is vacant, isolated and angst-ridden. Much like the '80s, it has lots of placid exteriors, broken interiors, hot bodies, vast wealth and the search for meaning.
As is usual for Ellis characters, though, no one has the equipment to find any meaning. From the beginning, it's obvious the hunt will be fruitless. These people have been so badly socialized by their alienating culture of wealth that they often can't even find an emotional response to their inability to properly feel.
Also par for the course is the easily placed blame. Parents so wrapped up in themselves that their children's existence barely registers are hardly fit to bestow morals or wisdom or emotions or anything else. Privilege has its costs. When anything is attainable, meaning evaporates. Everyone is adrift, and it's everyone's fault.
This is a movie that will likely anger, disgust or bore those not familiar with Ellis' milieu, although many of us who lived through the '80s know what he's on about. It doesn't lead anywhere, just like the characters' internal compasses. A couple of times the dialogue felt like it was trying too hard to get the point across, where if you weren't getting it, you're too stupid to be worth telling. I don't remember the book banging you on the head that way, but maybe it did.
This is not a pleasant movie, so don't make it a date night. It is a lovely, enchanting cultural study of detachment and amorality. But again, it also is everyone's fault. Self-indulgence isn't attractive and doesn't engender pity. When Graham pleads, "I need someone to tell me what is good, OK? And I need someone to tell me what's bad," you can't feel anything for him.
He's lost, they're all lost, there's no hope.
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