American Psycho (2000)

Patrick Bateman.
Single-handedly decimating prostitute populations
since the turn of the millenium.
At a glance:
Never read the '91 book from which it's adapted but this sure makes some compellin viewin. On the surface, a story about a sick fuck narcissistic investment banker named Patrick Bateman who kills people, for example, a colleague with a better business card than his because it has a watermark. Historically, it has gone down as an important psychological thriller that attracts academic interest due to its surrealist presentation of white collar rat race socio-dynamics. Long monologues on fine food and beauty products by lead actor Christian Bale (pic) expound a complex story with plenty of rewards, cerebral as much as visual.
Perennial wonderment:
Batman or Bateman, this Christian Bale couldda easily played Heath Ledger's Joker in The Dark Knight (2008) with equal aplomb, if you examine the emotional breakdown in the telephone scenes.
Reminds me of:

Myself, of course. You're a fucking ugly bitch. I want to stab you to death, and then play around with your blood. I want you to clean your vagina. I like to dissect girls. Did you know I'm utterly insane?
Watch out for:

All the pop culture commentary by Bateman are actually great reviews on the subject. You just find it hard to capture it all because he's sayin it while he's choppin some guy or whore up. With an axe. Shiny one, even.
Most memorable line:

"Don't just stare at it. Eat it."

Amacam joker, berapa bintang lu mau kasi?

Cara Seymour & Krista Sutton in a butt-eatin competion
Pin this one down at four full stars for intellectual entertainment that lives on today due to its unusual delivery. Check out this excerpt I got for you from a Universal Studios site - The characters are captive to 1987 fashion, which costume designer Isis Mussenden describes as "much bigger than now - shoulders with lots of pads, big glasses, big earrings and necklaces, and clothes that used large quantities of fabric. It's a general rule of thumb that when times are affluent, the clothing becomes voluminous." Mussenden's challenge was threefold. "As a costume designer, my first job is to interpret the script and build characters off the clothes," she says. "Clothing not only conveys character and mood visually, it also tells the story. When Bateman is feeling powerful, he wears a red tie, a shirt with bold stripes. But in weaker moments he appears in a lighter suit and a less flattering yellow tie.
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