This video is mainly about the movie and not the book. Read the book, watch the movie they're both great. We open with these blood-looking droplets that turn out to be the preparation of food in this pristine white environment.
If we were in a kitchen we would be thinking about the people who prepare and serve our food, but this is not a film about people who work for money. They present food preparation in a way that reminds me of the intro to the show Dexter, with its uncomfortable close-up shots and visual comparison between cooking and murder. Did you know, viewer that the main theme of American Psycho titled simply American Psycho is so effective because it presents the themes of American Psycho in sound format.
It begins with atmospheric tones that invoke feelings of emptiness - The implication that something should be there, but in its place a void - nothing. Then the pizzicato strings wiggle their way in, playing a fairly standard minor melody that I really like, but we get these open stringed violin runs that seem like they're doing this kind of creepy dance. The dissonance in the high and low notes on the piano is fantastic they seem to cut through the strings in the mix like a knife.
We transition into these open violins that sound almost like wedding music. It seems thematically appropriate for the fancy restaurant scene but there's something aggressive, almost off-putting about the composition and performance. It feels claustrophobic, like you're listening to this piece whether you like it or not.
The music is suggesting class, high society, but it's just that. A suggestion, a mirage. This is also reflected in how the film presents the culinary trends of the 80s.
The food is overly decorated, dainty and fussy. Check out that horrible handwritten menu. We're introduced to Bateman and his friends along with their crassness, entitlement and enviousness.
The film is presenting the idea of how grotesque it is that the people meant to be the crème de la crème of society are just such wankers. Immediately we kick off with misogynistic and anti-semitic dialogue from Bryce and McDermott, the latter Bateman heroically puts a cork in because he's a friend and ally of the Jewish people. "Hate this place.
It's a chick's restaurant. Why aren't we at Dorsia? " "He's handling the Fisher account.
" "Lucky bastard. " "Lucky Jew bastard. " "Jesus McDermott, what does that have to do with anything?
" "I've seen that bastard sitting in his office talking on the phone to the CEO spinning a fuckin' menorah. " "It's not a menorah. You spin a dreidel.
" "Oh my god Bateman, you want me to fry you up some fuckin' potato pancakes? some Latkes? " "No, just.
. . cool it with the anti-semitic remarks.
" No service worker in this movie is given a second of thanks, the characters typically opt for threats, insults, and demands - or just ignoring them completely like they're not even there. Assuming this movie takes place in the mid-80s "Speaking of reasonable - only $570. " "that's not bad.
" the $570 they spend at the restaurant is closer to $1600 today. The Stolis at the club are a much more reasonable $35 a piece "little something for the purse" "give her the 50! " "oh, you're cheap.
" The way he says give her the 50 with such indignance is very funny, it shows how stingy the rich can be with money. Welcome to Bateman's personality-filled apartment. Some of the wall art is literally just framed black squares.
The set designers do an excellent job of communicating Bateman's void of personhood through his living situation. Mearly everything is pristine white and even though nothing speaks for itself you still have no doubt that Bateman could identify the price tag, features and branding of every single item. Something I love about the song in the morning routine scene is that it's in constant motion without really going anywhere, like an exercise bike.
It resembles the first movement of Beethoven's Moonlight Sonata but with all of the mystique and intrigue sucked out of it - an icy shell of what once was. Aptly named, the repetitive arpeggios has put you in the routine headspace. It's an excellent representation of what's happening in Patrick Bateman's mind - the tone is very serious, in keeping with Bateman's feeling of urgency for performing outward self-care.
It's also clear through Bale's performance that Bateman believes he is describing something of utmost significance and value. The way he delivers the word protective just oozes self-importance. "then moisturizer, then an anti-aging eye balm followed by a final moisturizing protective lotion.
" Think about the order in which Bateman tells you his personal info. "I live in the American Gardens building on West 81st Street on the 11th floor. My name is Patrick Bateman.
I'm 27 years old. " He explains where he lives before telling you his name, implying his expensive apartment is of greater relevance to his personhood than his actual primary identifying trait. It's a subtle detail but one that tells you everything you need to know about the character.
His description of exercises, ice packs, lotions, gels, moisturizers - runs smack bang into one of the most important moments of the film, the removal of the mask. "There is an idea of a Patrick Bateman. Some kind of abstraction.
But there is no real me, only an entity. Something illusory. And though I can hide my cold gaze, and you can shake my hand and feel flesh gripping yours, and maybe you can can even sense our lifestyles are probably comparable - I simply am not there.
" It's nothing particularly subtle but it communicates the main idea of Bateman's character perfectly. There is nothing behind the mask. He's constantly mistaken for other people, does nothing but exercise and watch gory movies or porn and doesn't care about anything whatsoever.
He is the suggestion of a human being, nothing more. "Okay Jean, I need reservations for three at Camols at 12:30 and if not there try Crayons, alright? " "Yes sir.
" "Oh wait, and I need reservations for two at Arcadia at 8:00 on Thursday. " "Something romantic? " "No.
Silly. forget it, I'll make them. " "No I'll do it.
" "No no, be a doll and just get me a mineral water, okay? " "You look nice today. " "Don't wear that outfit again.
" This guy's clearly a connoisseur of the D. E. N.
N. I. S System.
Bateman holds all of the cards in his interactions with Jean. He speaks entirely in imperatives. But Jean seems to shrug off his behavior as just silly.
Sadly he's apparently non-hateable enough for her to be in love with him. Bateman does not work, ever. He goes to restaurants, listens to music, and watches TV.
That's about it. Bateman's job is completely meaningless and worthless, and is moreover just a product of his father's partial ownership of the company. It's the epitome of what David Graeber called a Bullshit Job.
The 80s music they use in the movie like Simply Irresistible, Walking on Sunshine and Hip To Be Square, they're all accurate to what the characters would be listening to for the time period but they're completely tone inappropriate. They don't in any way represent what the characters would be feeling, if anything. Personally I don't think the movie is making fun of the musicians as much as it is the characters like the Paul Allen murder scene is so godamn weird, and it really wouldn't be the same without the song choice.
It's very well-picked mediocre 80s music. Evelyn introduces him to Stash and Vanden, whom he completely ignores and Bryce hands him the reflective Espace menu causing a lingering shot of his featureless face. Everyone cheats on everyone else, but everyone seems to get married as well.
It's just stomach-churning thinking of what these relationships must be like. The only small way the women can control the men is through sex - something they not only see as a commodity but something women owe them that they are withholding. "Tell me, Stash, do you think Soho is becoming too.
. . commercial?
" "Yes. I read that. " "Oh who gives a rat's ass?
" "Hey, that affects us. " "Well what about the massacres in Sri Lanka, honey? " Bryce immediately shoots down a conversation topic that a woman brings up and talks about what he thinks he's supposed to believe is more important.
It's only towards the end of posturing and silencing a woman, not because he actually gives the slightest fuck about what's happening. Bryce turns towards Bateman in a bid to win some social support but he doesn't receive it - instead Bateman gives a truly heart-wrenching speech. "Come on Bryce there are lot more important problems than Sri Lanka to worry about.
" "Like what? " "Well we have to end Apartheid for one, and slow down the nuclear arms race, stop terrorism and world hunger. We have to provide food and shelter for the homeless and oppose racial discrimination and promote civil rights while also promoting equal rights for women.
We have to encourage a return to traditional moral values. Most importantly, we have to promote general social concern and less materialism in young people. " What he says is obviously complete bullshit but he knows that he can use it as an opportunity to get one up on his male peers.
Everything he says is clearly copied from some op-ed or whatever Bateman thinks will make him seem like the most educated, powerful person at the table. The speech is basically what he sees as a bunch of political truisms, but he does it in an absolutely ridiculous way, it makes me laugh every single time. This is one of the few times that Bateman manages to show any kind of social dominance against his fellow men, and it's with something so stupid.
The only reason that he even gets away with it is because indeed, they're a bunch of idiots. "Slow down the nuclear arms race" is a complete gem. Saying to stop the nuclear arms race would be some kind of commitment, however we are allowed to stop terrorism and world hunger because they're universally unpopular.
The phrase "general social concern" is now in my vocabulary forever it's just a profoundly meaningless statement. The background music is like inspirational advert or something. Caruthers and Bryce try and shoot it down, but he kind of had his moment.
"Bleaching? Are you trying to say bleaching? Bleaching.
. . Oh my god.
Two things. One: you can't bleach a Cerruti. Out of the question.
TWO: I can only get these sheets in Santa Fe. These are very expensive sheets and I really need them cle- If you don't shut your fucking mouth. .
. I will kill you. Now listen, I have a lunch meeting at Hubert's in 20 minutes with Ronald Harrison and I need those sheets clean by this afterno- Listen I cannot understand you!
This is crazy! You're a fool! I can't cope with this STUPID BITCHEE!
Understand! ? " "Patrick?
Hi Patrick, I thought that was you! " "Hello. .
. " This is a massive moment of anger and entitlement for Bateman. He strolls in with an incredibly bloodstained sheet that cannot be bleached and expects it to be done by the end of the afternoon.
He genuinely thinks that the dry cleaners give a shit about his lunch meeting at Hubert's and also know or care who Ronald Harrison is. Still, Bale communicates the pathetic nature of this character in this scene. He's full of rage, but it's impotent rage.
A detail I didn't notice until I started writing this video is that the dry cleaning workers go mute, dead silent when Victoria talks to Bateman - the exact moment he realizes he can just get a woman to do the work for him. When she notices the blood stained sheet, he literally just covers it and then lies about it being cranapple juice, which she obviously does not believe. Also he's definitely lying about his lunch meeting, the clock shows 11:29 A.
M. He calls up Dorsia to get a reservation and then they laugh at him. This solidifies the delusion Bateman has that his peers are laughing at him because he can't get a reservation at Dorsia.
Of course, in reality, they're only thinking about whether they themselves can get a reservation at Dorsia. We never actually end up seeing it, it's probably very similar to the other restaurants we see, but it has the allure of exclusivity. Wealth creates exclusivity within exclusivity, leading to the all important prestige.
Everyone, including the people at the top of the pyramid, feels envious of someone else. Everyone feels inadequate. Patrick feels inadequate when he's unable to get a reservation at Dorsia and he externalizes this onto the world around him.
What a shot. Even though Courtney has every second of her life controlled by men and the taxi driver is forced to work for pennies on the dollar for people above him on the social hierarchy, those two are still allowed an identity - a face. Bateman is not.
He's a blur. A face in the crowd. Nobody.
Courtney is a character that reminds us that the medical system never truly killed the lobotomy. If women can't cope with their condition you just put them on enough drugs to make sure they cope. "I just want a child.
. . just two.
. . perfect.
. . children.
. . " The perfect one man, one woman, one boy, one girl family she has in mind is nothing but a fantasy.
It's what she thinks she should aspire to because she has nothing else. This is one of the reasons that I think the initial reaction to the book was so ridiculous. Tammy Bruce, a leading feminist activist in Los Angeles had this to say.
"American Psycho is the most misogynistic communication we have ever come across. The book is in effect a how-to novel on the torture and dismemberment of women. " There's a certain amount of insensitivity to how the characters are portrayed, but that doesn't take away from the overall point.
These characters are unabashedly cynical, violent, misogynistic - but this is a necessary trait for the book to make its point. As easy as it is to laugh at this from a modern reader's perspective, knowing and appreciating its satirical nature, I still don't entirely blame people, particularly women, for reacting in this way. It is an incredibly violent book that's full of misogyny.
However, I can't help but wonder why the portrayal of women was chiefly criticized considering that Bateman's internal monologue is chock-full of racist, anti-semitic, homophobic shit. This was just the initial reaction and hindsight is 20/20 so I can definitely forgive it. Courtney is so barred that she can barely stay awake and is taken to Barcadia by Patrick, who lies to her about it being Dorsia.
He literally tells her what she's going to have, citing a newspaper article for his choice. "Courtney, you're going to have the peanut butter soup with smoked duck and mashed squash. New York Matinee called it a 'playful but mysterious little dish'.
You'll love it. " She passes out and he acts almost genuinely content for the first and possibly only time in the entire movie. The female isn't yapping in his ear and she thinks it's Dorsia so that means that Luis Caruthers will respect him, even if he is the biggest doofus in the business.
For the briefest possible moment, Patrick is in an oasis of peace. All is well. And it's nothing but the calm before the storm.
The stress, the intensity - of the business card scene. Paul Allen pulls up and they play like a shaker sound effect. "Hello Halberstram" Allen mistakes Bateman for someone else, Marcus Halberstram, and compliments his tie.
All of the men look the exact same on purpose, they only have the meagre choices of suit and tie. Paul Allen is the object of envy for Patrick Bateman and basically every other character. He has a sliver of personality I guess, he is successful at work and most importantly he has an 8:30 res at Dorsia on a Friday night.
The business card scene is famous for a reason. All of the cards look almost identical, with identical spelling errors on all them to boot. They use the sounds of swords unsheathing for the card case opening.
The sound effects and music portray crushing tension. "Call me. " The close-ups of his face in the scene are some of my favorite shots in the entire movie.
He puts his hand to his mouth, he fidgets around, he takes off his glasses - all of these are manoeuvres to calm himself down. Bateman can't move, but his fight-or-flight response has been fully activated. The way he stares into the card is like he's staring truth itself right in the face - Allen's card truly is better.
He's unable to cope with this reality, he looks like he's using all of his mental resources to prevent himself from having a seizure. I think it's conceivable that he killed Al and others but not Paul Allen because it seems very in-character that he would kill people who he sees as below him somehow. I interpret the Paul Allen murder scene as more of an envious fantasy than anything else.
This would also explain why Paul Allen's murder is contradicted later in the movie "Why isn't it possible? " "It's just not. " "Why not, you stupid bastard?
" "Because I had dinner with Paul Allen twice in London just 10 days ago. " I think the breakdown of reality nearing the end of the movie is more of a completion of the closest thing the movie has to a character arc - his loss of sanity. "Bateman does actually have an arc in the movie.
" "Yes. " "What's his arc? " "He goes from psychopath to psychotic.
" "Yes that's right, he totally loses it. " "One psycho to the next, because he. .
. does have an ability to to uh play the game and and and look very good in social circles and everything and then by the end he's absolutely lost any grasp on reality and it becomes completely surreal. " It's incredibly difficult to talk about this film without talking about its co-opting by the so-called sigma male community.
For how amazing the satire in this movie is it's flooring how reality managed to satirize itself better. Batman's like one desirable trait of physical attractiveness is put under a spotlight in a very perverse way. "I went and visited you know all different levels of people at Wall Street but the guys on the trading floor when I arrived there before making the film I got there and a bunch of them they were going "Oh, Patrick Bateman!
" and patting me on the back and going "oh yeah we love him! " and I was like. .
. yeah ironically right? and they were like "what do you mean" so it was always worrying um even back then.
I think this shows that the misinterpretation of the film is not new. To be clear, any interpretation that puts Bateman in a remotely sympathetic position is wrong but the sigma male version of it is new insofar as it's of the public. This isn't Wall Street yuppies doing it anymore, it's normal people.
A 14-year-old boy might well see a Patrick Bateman edit on TikTok and think "wow. what a cool guy. " and because he doesn't really watch movies he goes on thinking that Bateman is how he's presented in these TikTok edits - socially dominant, powerful, desirable.
This wouldn't be as funny as it is if it wasn't this particular movie that was chosen, being a scathing critique of everything the sigma male community holds dear. Money-hungriness, materialism, worshipping an idealized male form, misogyny Those who think that Patrick Bateman is a cool character are somehow as ridiculous as the character himself. The man is a loser and everyone correctly identifies him as such.
He's charming and attractive, yes, but insecure, vapid, uncaring, and consumed by his own inferiority complex. It's incredibly funny that he's seen as aspirational to anyone whatsoever - I mean even by the sigma male community's own standards he's shown to be very low on the social hierarchy of his workplace. At least he's not the gay one I guess.
The Sigma Male conceptualization of the character illustrates the lack of media literacy present in male-centric circles, particularly conservative ones. They don't know and don't want to know what this character's life is really like. If it looks desirable on the surface then it is.
The irony of that is palpable, it can be palped. The only characters of colour in this movie are either homeless or in a position of servitude. In fact, the majority of service people in this movie are racial minorities - the purpose of that, of course, is to show the racial disparities of the time that continue on to this day.
Patrick Bateman lies about everything. If he thinks he will have some kind of social advantage through doing it, he does. He's mostly successful at this, not because people believe his lies, but because his words are the de facto truth of the matter.
He's only contradicted when it doesn't matter, such as when a woman calls him out. "You're late honey" "I'm not. " "oh yes you are!
" "I've been here the entire time, you just didn't see me. " The party looks like a complete nightmare by the way, there are a few places I want to be less. The Texarkana scene really hits home how these guys *fucking* suck.
The top of society are abusing every other member for so little psychological reward. It's nothing but posturing and conceit and one-upmanship. Their interactions are incredibly hatable as a result.
He gets Allen drunk and brings him back to his white apartment and then recites an article about Huey Lewis And The News. The axe is chrome polished within an inch its life. I have no idea how Bale did that hand movement.
Seriously, try and replicate it at home. It's definitely one of the funniest scenes in the whole movie, it's absolutely bizarre and I love it. There's noticeably no sense of catharsis when Allen is dead, neither for the audience nor the character.
It's not the fun kind of anti-hero killing that you would expect from a character like this. He brings Paul Allen's body bag out and it's trailing blood, but the doorman doesn't seem to give a shit. When he gets outside the blood stops trailing.
This was intentionally done and I think it was to show that Bateman no longer has a consistent sense of reality. When Willem DaFoe walks into Bateman's office he fabricates a phone conversation. "Now John, you've got to wear clothes in proportion to your physique.
There're definite dos and don'ts, good buddy, of wearing a bold striped shirt. A bold striped shirt calls for solid, coloured, or discreetly patterned suits and ties. Yes, always tip the stylist 15%.
Listen John, I've got to go, T. Boone Pickens just walked in. Just joking.
No, don't tip the owner of the salon. Okay John. Right?
Got it. " When Kimball asks if it was important, he says it was a business conversation, probably said in earnest but interpreted as a joke by Kimball. He immediately outs himself as knowing about Paul's disappearance "What's the.
. . topic of discussion?
" "I've been hired by Meredith Powell to investigate the disappearance of Paul Allen. " "I see, yeah. Paul's disappearance, yeah.
" After forcing a mineral water on him he asks again what the topic of discussion is even though Kimball already said it was Paul's disappearance. "So what's the topic of discussion? " "The disappearance of Paul Allen.
" "Right. Well I haven't I haven't heard anything about the disappearance or anything, not on page six at least" Note the shot where he says thanks and flashes a smile and then immediately changes back to neutral. "Your address?
" "American Gardens building, West 81st Street. " "Nice, very nice. " "Thanks.
" He's completely insincere. He's already talking about Allen in the past tense - "Well I think from one that he was probably a closet homosexual who did a lot of cocaine. That Yale thing.
" "Where did Paul hang out? " "Hang out? " "Yeah, you know, hang out.
" I like that he pretends not to know what hang out means but expected Kimball to know what "Yale thing" meant. "Do you have any witnesses or fingerprints? " He is a master of incriminating himself.
"Had his apartment been burglarized? " The way he speaks is so bizarre and unnatural it's hilarious. "I mean no-one's dealing with the homicide squad yet or anything right?
" No, not yet, as I said we're not sure. The meeting started at 10:30 - "Patrick. .
. it's only 10:30, I think he knows you're here. " "You'll have to excuse me, I have a lunch meeting with Cliff Huxtable at Four Seasons in 20 minutes.
" Implying that Bateman had a lunch meeting planned at 10:50 A. M. "So typical isn't it?
" "It's just strange. " All of the jokes that he makes are at the other person's expense and are basically just jabs. "I lost my job.
" "Why? you drinking? is that why you lost it?
insider trading? just joking. " "D'you take a credit card?
I'm joking. come on, get in. I'm Paul.
My name is Paul Allen. " I think it's possible he told the prostitutes his name was Paul Allen so that they would confirm he was alive to Kimball, after which they would immediately confirm that Bateman was lying when they get shown a picture. "No.
No smoking, not in here. " No smoking, not in here, huh? When he's having sex he only stares at himself in the mirror, thus making him a homosexual.
I absolutely love the music by John Cale, it's a very creepy soundtrack. Nearly every song is titled in a utilitarian way - The Hooker. The Restaurant.
The Office. But I think that adds to the fact that things are described as they are - so much of the book is just made of plain descriptive sentences and I think that really helps add to the kind of materialistic aspect of it. Caruthers shows them his horrible business card and it says Vice President like all of the rest of them.
It's great how blisteringly intense the music is in The Men's Bathroom, it definitely represents Bateman's unreasonably strong reaction to Caruthers' behavior, and how he's losing his mind - he's sweating, he seems like he wants to fucking kill himself. It's hilarious watching him do this and the accompanying soundtrack definitely adds to the comedic aspect. I believe that he did try to kill Caruthers for real because Caruthers is someone he sees as lower, but he was so disgusted by his advances that he can't bring himself to do it.
He literally washes his gloves, look at his fuckin face in the mirror. As a gay man, Bret Easton Ellis has a very good sense for the homophobic disgust response present in straight male culture, and is able to amazingly satirise it accordingly. He uses the classic videotape excuse for the first time here by the way.
"Patrick? " "WHAT IS IT? !
" "Where are you going? " "I've gotta return some videotapes. " Bateman has charisma which unfortunately allows him to rizz up this poor woman whose hair he fiddles with immediately afterwards.
Something tells me nothing good came of that relationship. The only word in the crossword that's not meat or bones is Reno and I don't know what that means. "We'd gone to a new musical called 'Oh Africa, Brave Africa.
' It was a laugh riot. " Bateman tries to connect with people but fails because he doesn't know how to communicate when you're not trying to get something out of the other person. He doesn't enjoy talking to people so he just tries to say the "correct" thing.
When he does try and say something for the sake of saying it it's just infodumping his special interest. "Did you know that uh, Ted Bundy's first dog, a collie, was named Lassie? had you heard this?
" "Who's Ted Bundy? " He spends a while figuring out how to kill Jean and decides on the nail gun before being interrupted by the phone. I personally think it's very clear that he didn't decide to spare Jean out of some unprecedented concern for human life or change of heart, I think it's literally only because he was interrupted by the phone and considered that slightly more important than what he was doing.
Maybe he thought that killing Jean would inconvenience him slightly. He saw Kimball put salt on his food and copies him and look how much he puts. He's got this viscous sheen of sweat on his face for the entire scene, it's great.
I think this is one of the times where the movie plays with the idea that Patrick Bateman is just an alien. He just copies social interaction, fake it till you make it I guess. "Dr off, choose a robe.
. . not the Bijan, and come and meet me and our guest in the living room for drinks.
" You, yes you, get to choose from one of the two robes but not that one. After bringing the prostitute and Elizabeth to Paul Allen's apartment he murders Elizabeth, runs naked apart from some sneakers through the apartment building and fuckin' noscopes her with a chainsaw. He breaks up with Evelyn at the restaurant and it's definitely one of the funniest scenes in the entire movie.
"I know that your friends are my friends and uh. . .
and I - I've thought about that. You can have em. " "You're really serious aren't you?
" "Yes I am. " "What about the past? Our past?
" "We never really shared one. " "You're inhuman. " "no, I'm in touch with humanity.
" "Where are you going? " "I'm just leaving. " "But where?
" "I have to return some videotapes. " I personally don't think the ATM really told him to feed it a stray cat. I also don't think he won in a fight against a bunch of cops and fuckin exploded their cars.
Even he looks at the gun confused as hell as to how it could have happened. He pulls out his phone and calls his lawyer and it's possibly the first time in the entire movie where he seems to show some kind of human emotion. But the entire reason that he is is because he's afraid he's going to get caught.
He's not regretful. All of the feelings that he has are somehow directed towards himself. He doesn't really feel empathy towards people.
He fuckin babyrages so hard when he thinks he's going to get caught he's an L loser. It's not just a profound moment of weakness, it also exposes him as the weak person he is. He's such a godamn beta!
The scene where Jean reads the planner definitely reminds me of the typewriter scene from The Shining, it's probably some kind of homage. He's mistaken for everyone else, including by his lawyer, but only because he has no identity and so he blends in really well. This is one of the delivery methods the movie uses to make make its critique.
Bateman is no one and therefore Bateman is everyone. If this guy can go throughout society unnoticed then the society is crazy. An important piece of symbolism in the last bit is that the door behind him says "this is not an exit".
Bateman will never be relieved of his life. He hates it and he will never escape it. In a sense, it's kind of the appropriate punishment.
The correct hell. He's forced to live a life that he hates with people that he hates and he never even gets the relief of facing consequences for his actions. The film and book both lack any kind of traditional narrative structure but it's an intentional creative choice.
It's trying to convey that we're just seeing a glimpse into this world. Patrick Bateman existed before we saw him and he will continue to exist when the movie ends. In summary,Patrick Bateman is literally me.
I completely love this movie, I recommend it to anyone. It's witty, creepy, and absolutely hilarious. Mary Harron's filmmaking prowess is put on full display, and as I mentioned John Cale's soundtrack absolutely brings it to life.
And I'm giving this one a 10 out of 10.
