|Lions Gate Films | Release Date: April 14, 2000||CRITIC SCORE DISTRIBUTION|
A provocative success; wiping away the gore, Harron and Bale have found a mirror that forces us to look at ourselves and ask tough, disturbing questions -- which is ultimately what the best satire always does.
An uneven movie that nonetheless bristles with stinging wit and exerts a perverse fascination.
But the carnage, like the sex scenes, is shot so pristinely that it becomes a nouvelle-cuisine feast; this is a splatter film Martha Stewart could love.
Has the feverish intensity of a bad dream, leavened with a subversive sense of humor that is both sophisticated and cracked.
A withering condemnation of a culture where greed is a virtue, a culture that you don't have to feel guilty for laughing at.
Exceedingly well cast and assembled with flashy visuals and pacing by Harron, this period piece is diminished by its relative pointlessness.
The film's details are spot-on, its tone ludicrously ironic, and its casting deft.
It's so steeped in the coldness and inhumanity of its protagonist that it's ultimately more clinical than absorbing.
A second-rate nightmare: the Reagan generation meets Leatherhead with flickers of brilliance drowned in blood and snobbery, a corpse dressed by Bloomingdale's.
In both senses of the word, American Psycho wastes its women.
A high-end version of "The Texas Chainsaw Massacre" set in the rarefied bistros, boites and brokerages of Yuppie Manhattan in the 1980s.
A misfiring black comedy oddly reminiscent of all those bad 1990s movies about strippers getting killed at bachelor parties.
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