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Patrice Leconte's "Monsieur Hire" is a tragedy about loneliness and erotomania, told about two solitary people who have nothing else in common.
FFC Gerardo Valero reexamines the 2015 James Bond film "Spectre" after the dust has settled. It's just as well a woman directed "American Psycho." She's transformed a novel about blood lust into a movie about men's vanity.
Goold, the Almeida’s artistic director, is already much garlanded for his work with the Royal Shakespeare Company, the National Theatre, English National Opera and Chichester Festival. These early scenes are lively, but they almost reduce the nominal anti-hero to minor player in an ensemble piece.
Goold and Aguirre-Sacasa approach the thorny subject of Bateman’s brutality by stylizing and minimizing it. Sheik also shoehorns full-cast choral arrangements of 1980s pop classics by the likes of Phil Collins, New Order and Human League into the action, sometimes to sublime effect. The set is simple but striking, a multipurpose geometric space that serves as various apartments, a video store, a nightclub, a gym, a restaurant, an office, several streets and even a beach. American Psycho ends with an audacious romantic twist not in the original book -- albeit romance tempered with heavy irony. Presented by Almeida Theater, Headlong, in association with David Johnson and Jesse Singer for Act 4 Entertainment, by special arrangement with Edward R.
Desktop users: right click on the image and choose "save image as" or "set as desktop background". All I have in common with the uncontrollable and the insane, the vicious and the evil, all the mayhem I have caused and my utter indifference toward it I have now surpassed. A male director might have thought Patrick Bateman, the hero of "American Psycho," was a serial killer because of psychological twists, but Mary Harron sees him as a guy who's prey to the usual male drives and compulsions.
You will receive a weekly newsletter full of movie-related tidbits, articles, trailers, even the occasional streamable movie. But skip forward two decades and this million-selling portrait of Patrick Bateman, arrogant Wall Street broker by day and sexually deranged serial killer by night, is part of the literary canon.


A little lacking in focus, it feels more like a series of splashy set-pieces than a serious literary adaptation.
The book is by Roberto Aguirre-Sacasa, whose stage and screen credits include Glee, the recent Carrie remake, and the ill-starred Broadway spectacular Spider-Man: Turn off the Dark, on which he was brought in for rewrites.
Between cocaine-fueled visits to hip nightclubs, upscale restaurants and orgiastic parties, Bateman barely even finds time to kill two people.
Attacked by feminists and literary critics for its forensic descriptions of violence, mostly against women, it was disowned and pulped by its original publisher.
He murders more men than women in this adaptation, mainly in non-naturalistic, hallucinatory scenes, the most memorable of them a trigger-happy massacre on a disco dance floor. It was designed by Es Devlin, who balances extensive work in theater and opera with lavish stage shows for pop superstars including Jay Z, Lady Gaga and Pet Shop Boys.
Lynne Page’s choreography also merits a mention, with its clever use of slow-motion and freeze-frame tableaux. It also feels more attuned to our post-modern age of Tarantino-esque ironic violence and torture-porn slasher movies.
Likewise his ripped physique, which he bares in several scenes, including his dramatic opening ascent through the stage floor on a tanning bed. Bateman begins the story surrounded by pompous Wall Street rivals and clucking women, with Susannah Fielding and Cassandra Compton both doing excellent work as his diva-ish fiancee Evelyn and adoring secretary Jean, respectively. The tone during this first hour veers dangerously close to Absolutely Fabulous or Sex and the City. Already sold out for the duration of its run through February, American Psycho seems virtually guaranteed a West End transfer.
His American accent is better than most Brits, comfortable enough not to draw attention to itself.
Christian Bale’s smirking performance turned a reviled folk devil into an urbane metrosexual playboy. But Sheik, Goold and Aguirre-Sacasa might have given us a sharper take-home message than this evasive non-message.


This editorial timidity arguably errs on the side of toothless good taste, but also invites us to consider the story’s other charms, especially as a comic period piece. Did they perhaps intend some kind of topical commentary on the current climate of Wall Street villainy? It was snatched up for Oliver Stone, who planned to star Leonardo DiCaprio, before ending up back in Harron's arms with Christian Bale in the lead.
She senses the linkage between the time Bateman spends in the morning, lovingly applying male facial products, and the way he blasts away people who annoy him, anger him or simply have the misfortune to be within his field of view. Most of his victims are women, but in a pinch, a man will do.The film regards the male executive lifestyle with the devotion of a fetishist. There is a scene where a group of businessmen compare their business cards, discussing the wording, paper thickness, finish, embossing, engraving and typefaces, and they might as well be discussing their phalli. They carry on grim rivalries expressed in clothes, offices, salaries and being able to get good tables in important restaurants. It is their uneasy secret that they make enough money to afford to look important, but are not very important. One of the film's running jokes is that Bateman looks so much like one of his colleagues (Jared Leto) that they are mistaken for each other.
I have overheard debates about whether some of the murders are fantasies ("can a man really aim a chain saw that well?"). All of the murders are equally real or unreal, and that isn't the point: The function of the murders is to make visible the frenzy of the territorial male when his will is frustrated. Lives could have been saved if instead of living in a high-rise, Bateman had been supplied with a basement, a workbench and a lot of nails to pound.




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