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75Has an air of detachment and sadness, enhanced by the movie's being set a full quarter century ago.
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63If The Informers doesn't sound to you like a pleasant time at the movies, you are right. To repeat: dread, despair and doom. It is often however repulsively fascinating and has been directed by Gregor Jordan as a soap opera from hell, with good sets and costumes.
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58Though The Informers is by no means great--nor wholly true to the vision of Ellis, who co-wrote the screenplay with Nicholas Jarecki--moments sprinkled throughout the film capture Ellis' particular mix of flip yuppie satire and lived-in paranoia better than any big-screen version of his work to date.
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One long wallow in sordidness.
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50This is one of those "Crash"-style pictures with interwoven narrative strands. The problem here is that most of the strands wind up little more than loose ends.
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50The film is banal by obvious intent. The only question, as with other Ellis adaptations including "American Psycho," is whether auds will appreciate the aggressively shallow depiction of an aggressively shallow milieu, or mistake the pic's implicit critique for the crime itself.
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38Another tale of Tinseltown drugs, sex and excess - has transferred itself to the screen with mind-boggling, laugh-inciting horribleness.
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38The Informers is nihilism for nihilism's sake; a bleak and borderline-unwatchable collage of misanthropes, self-absorbed a**holes, and pathetic weaklings as they struggle to move forward during the early 1980s in Los Angeles.
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It's a terrible muddle unless you take it as a satire on the Age of Ellis, the Jacqueline Susann for that Flock of Seagulls era. That way, the unintentional laughs seem almost ironic.
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25This one's a certifiable soul-sucker, dining out on its characters' venalities while wagging a finger at the horror, the horror.
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25Here's what is bad: this movie.
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25So, in essence, The Informers fails precisely because we never believe these lost souls were ever human enough to have had a soul to lose in the first place.
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25Shocking is the fact that three highly regarded actors -- Kim Basinger, Mickey Rourke and Billy Bob Thornton -- chose to star in this dreadful film.
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25You come away with only the memory of Christie, the film's perfect California blonde, lying insensate on the beach in the final ravages of AIDS - a potent and frightening image the rest of The Informers can't live up to.
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25An awful film about an awful time.
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25Spoiler alert: It can leave you feeling kind of empty and sad! It's pretty, icky and boring all at once, and feels like nothing so much as an unusually depressing Ban du Soleil commercial.
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20Ellis' stamp is immediately apparent, from the absurdly vapid characters to the undercurrent of barely repressed anger.
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20A tale of absolute self-absorption and unconscious revelation.
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20Nearly every time Mr. Jordan, working from a script by Mr. Ellis and Nicholas Jarecki, tries for similar effects, he goes badly awry, so that you snicker when the movie is trying to be poignant and groan when it aims to make a joke.
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Conjures up plenty of debauched tableaux with its photogenic, jaded showbiz denizens and hangers-on, but nary a reason for existing.
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A nihilistic, narcissistic, knuckleheaded move about nihilistic, narcissistic knuckleheads, The Informers might have been an interesting exercise in satire, if it only had a sense of humor. Which it doesn't. You'll need one, though, after forking over 10 bucks to see it.
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0One of the worst movies of this or any year.
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0Tedious and tawdry.
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0The top-line talent, particularly Thornton and Rourke, do manage to hold our attention with idiosyncratic performances, but most of the others are a jumble of fair-haired, disaffected boys.
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0Repulsive 80s flashback.
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User score distribution:
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Positive: 2 out of 5
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Mixed: 2 out of 5
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Negative: 1 out of 5
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