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Western Carolinian Volume 64 (65) Number 29

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  • April 19, 2000 GET A LIFE 15 Movie Review Dark Satire + A Sadistic Mind = 'American Psycho' by Jenni Bartels Staff Writer The setting is 1987. In the midst of the superficial eighties lifestyle of cokehead yuppies, bourgeois restaurants and underground clubs stands our anti-hero, Patrick Bateman, greed and materialism personified. Christian Bale ("The Velvet Goldmine", "Swing Kids") transforms himself into Mr. Bateman, well-to-do Wall American Psycho Directed by Mary Haron Starring: Christian Bale V Reese Witherspoon • ••••See it NOW • • • • See it relatively soon • • • Wait for the video • •Watch for it on USA • See it in Hell... Over and over a Street tycoon by day, a psychotic bundle of jealousy and rage by night in "American Psycho", directed and co-written by Mary Haron ("I Shot Andy Warhol", and TV series "OZ"). Patrick Bateman is the epitome of the "Me Generation" with his extravagant suites, recreational coke habit, overpriced dinners, and infidelity. He communicates with his peers through bragging, bravado, and gossip. We first meet this pompous neurotic in his shower as he narrates the rigor- ^ ous grooming routine he undergoes each day; it just gets weirder from there. A word of warning right now: If you don't like very dark and intense satire you wont like this movie. It may sound sick and disturbing, but you can't help but crack a smile while Bateman butchers a co-worker while listening to Huey Lewis and The News, critiquing the band with axe in hand. Bateman's surroundings are sterile and abstract. His home environment is colorless; presumably this is a way to externalize his internal emptiness for the viewers. He seems COMING SOON April 21 -27. 2000 Mumford Cruel Intentions Touch of Evil House on Haunted Hill Jakob the Liar WCU CAMPUS MOVIES CHANNEL 75 Jean (Chloe Sevigny) is about to have a hot date with "Psycho his blow torch. photo courtesy Lion's Gate Films Patrick (Christian Bale) and to do nothing in his prestigious Wall Street office except watch television, listen to cheesy pop anthems and avoid phone calls from the unsavory characters he is in constant contact with. While it is apparent that this guy is a little off the deep end as it is, what with his obsessive compulsion towards fitness and cleanliness, his psychosis becomes truly evident when our protagonist goes completely over the edge upon seeing a colleague's business card that is better than his. His whole frame of mind is trained on being number one and a subtle but elegant business card's lettering has thrown him for a loop. Henceforth, the body count and carnage factor climb. Based on the equally dark and twice as graphic novel of the same name by controversial writer, Bret Easton Ellis, this movie portrays a man who is consumed with greed and the desire to fit in; the only thing that excites him now is brutally killing most anything that walks. With a virtually nonexistent supporting cast that I will mention eventually, Bale does an excellent job as the ever so endearing Bateman, but if you want to keep him in your mind as that sweet guy from "Newsies" or "Little Women" I would suggest that you steer clear of this movie. He's not handing out papers or spouting poetry here; he's running naked through an apartment building with a chainsaw. Here come the bit parts, kids: Reese Witherspoon ("Cruel Intentions", "Election") plays Evelyn Williams, the self-absorbed materialist that Bateman is engaged to; he's cheating on Evelyn with pill-popping freak, Courtney Rawlinson, played by Samantha Manthis ("Little Women", "Pump Up The Volume"). Willem Dafoe ("eXistenZ", "The English Patient") plays detective Donald Kimball, who is on a mission to figure out where Paul Owen (Jared Leto of "My So-Called Life" and "Urban Legend") disappeared to (I'll give you one guess). And then there's Chloe Sevigny ("Boys Don't Cry", "The Last Days Of Disco") who is Jean, the pitifully overworked secretary harboring some lust for our psychotic yuppie friend. While many women found both the movie and the novel to be horrific and derogatory to women, some circles of thought have embraced the idea that this is in fact a feminist statement, bringing to light what men "really are"—misogynistic, jealous, money-hungry, and pretentious windbags. There is evidence of this theory as the movie progresses; the women he kills are simply animals he hunts, his socialite fiance is so inconsequential to him she shows up in only four or five scenes, the woman he's sleeping with is also object—a sex toy with no human qualities, and finally his consistently underrated and seemingly irrelevant secretary—an answering machine with legs. These women are of no significance to him at all, and seeing as how a woman directed this movie, I can understand this philosophy. However, I personally believe that this is more or less the character sketch of a faceless anomaly that has lost his mind through boredom, a ceaseless need for success, and environmental sterility; he seeks sanctuary in doing something gruesome and abnormal. He is a shell of a man who seeks to feel some kind of rush, be it good or bad. But maybe that's just me. This film was an interesting and complex blend of black comedy and psycho- drama. It places the viewer in the position of psychoanalyist, as you try to figure out what exactly the motivation behind the brutality is. What makes this movie truly disquieting is the idea that there is no motive; this guy is just really tweaked out. "American Psycho" follows in the same disturbing vein as cerebral Kubrick films before it, such as "A Clockwork Orange" and "Full Metal Jacket". I guarantee you're going to leave the theater wondering what the hell you just watched, whether you liked it or not.
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