It's the late 1980s. Twenty-seven year old Wall Streeter Patrick Bateman travels among a closed network of the proverbial beautiful people, that closed network in only they able to allow others like themselves in in a feeling of superiority. Patrick has a routinized morning regimen to maintain his appearance of attractiveness and fitness. He, like those in his network, are vain, narcissistic, egomaniacal and competitive, always having to one up everyone else in that presentation of oneself, but he, unlike the others, realizes that, for himself, all of these are masks to hide what is truly underneath, someone/something inhuman in nature. In other words, he is comprised of a shell resembling a human that contains only greed and disgust, greed in wanting what others may have, and disgust for those who do not meet his expectations and for himself in not being the first or the best. That disgust ends up manifesting itself in wanting to rid the world of those people, he not seeing them as ...Written by
Our pasta this evening is squid ravioli in a lemon grass broth with goat cheese profiteroles, and I also have an arugula Caesar salad. For entrees this evening, I have swordfish meatloaf with onion marmalade, rare roasted partridge breast in raspberry coulis with a sorrel timbale.
...and grilled free-range rabbit with herbed french fries. Our pasta tonight is a squid ravioli in a lemon grass broth, and the fish tonight is a grilled...
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For the US theatrical release, director Mary Harron had to edit the following two scenes (which are available on the unrated edition) in order to receive an R-rating from the MPAA:
The word "asshole" in the line, "Christy, get down on your knees so Sabrina can see your asshole" was changed to just "ass".
The threesome during the same scene was trimmed several seconds.
In Too Deep
Written by Phil Collins, Tony Banks and Mike Rutherford (as Michael Rutherford)
Performed by Genesis
Courtesy of Atlantic Recording Corp.
By Arrangement with Warner Special Products, Virgin Records America and Hit & Run Music Publishing Inc. See more »
A must see
Having read the novel by Easton-Ellis a year ago I was intrigued to find out how it could be made into a movie.
Whilst turned off by the totally uneccesary details of Batemans crimes in the book, I felt that Easton's insight into superficial 80's yuppie culture made it a classic.
Who could play a credible Bateman? Leonardo Di Caprio? I think not.
How would Mary Harron deal with those controversial torture scenes?
What we got was one of the finest movies I have seen for some time. Of course, those of closed minds will slate this film without even bothering to see it, simply because of the book's notoriety.
I was impressed to see how closely Harron followed the book, replacing the un-filmable seens with suggestion, aka ear-cutting scene from resevior dogs, so that you believe you have seen more than you have. There are more parallels with Tarantino, such as the use of classic (& non classic ) 80's pop to create a stylised feel to the movie, that has not been seen since Pulp Fiction.
Casting was superb, with Cristian Bale giving the performance of a lifetime, We, the audience, saw the souless monster within, Batemans superficial aquaintences, saw another faceless human being.
Just like the book, you are never sure wether Batemans crimes are real, or just imaginary, but his slide into insanity is clearly real and paced expertly by Bale.
Rheese Witherspoon as Evelyn was disappointing, "Election" showed what a great actress she is and although this role called for an airhead performance, it was clear that she was cruising.
Mary Harron deserves the credit for creating an excellent film, that could have so easily been just another slasher movie.
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