| 100 |
The New York Times
A lean and mean horror comedy classic.
|
| 91 |
Entertainment Weekly
Funny, pungent, and weirdly gripping.
|
| 90 |
Time
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.
|
| 90 |
TNT RoughCut
Don Kaye
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.
|
| 90 |
Rolling Stone
An uneven movie that nonetheless bristles with stinging wit and exerts a perverse fascination.
|
| 90 |
Dallas Observer
An ethereal, creepy, almost breathtaking meditation on the life of a mind snapped in two.
|
| 90 |
Film.com
Harron's adaptation of Ellis's novel is brilliant, probably better than the book itself.
|
| 80 |
Chicago Reader
The slick satire cleverly equates materialism, narcissism, misogyny, and classism with homicide, but you may laugh so loud at the protagonist that you won't be able to hear yourself laughing with him.
|
| 80 |
Film.com
Bateman could have been much more interesting if he'd been played by someone who wouldn't need to work quite so hard (Charlie Sheen or Rob Lowe might have been fascinating here).
|
| 80 |
LA Weekly
Cloaking (Bateman's) world in a hyperrealist light so sharp you could cut yourself on it, Harron keeps the violence minimal, over the top and ghoulishly funny.
|
| 75 |
Baltimore Sun
A withering condemnation of a culture where greed is a virtue, a culture that you don't have to feel guilty for laughing at.
|
| 75 |
USA Today
Exceedingly well cast and assembled with flashy visuals and pacing by Harron, this period piece is diminished by its relative pointlessness.
|
| 75 |
Miami Herald
Has the feverish intensity of a bad dream, leavened with a subversive sense of humor that is both sophisticated and cracked.
|
| 75 |
Chicago Sun-Times
Christian Bale is heroic in the way he allows the character to leap joyfully into despicability.
|
| 75 |
New York Daily News
The real highlight is when Bateman and his co-workers compare custom business cards in a grueling, ego-shattering game of one-upmanship that is so linked to their sense of self it might as well be Russian roulette.
|
| 71 |
Mr. Showbiz
The film's details are spot-on, its tone ludicrously ironic, and its casting deft.
|
| 70 |
Variety
Pace is sleek, airless and apt.
|
| 70 |
Slate
Nearly perfect for what it is.
|
| 67 |
Austin Chronicle
Neither bloodthirsty enough to trigger the gag reflex of anyone but the most anemic viewer nor clever enough to yield much in the way of particularly engrossing insights.
|
| 67 |
Portland Oregonian
It's so steeped in the coldness and inhumanity of its protagonist that it's ultimately more clinical than absorbing.
|
| 63 |
San Francisco Chronicle
Harron validates and largely clarifies the work.
|
| 63 |
Chicago Tribune
A second-rate nightmare: the Reagan generation meets Leatherhead with flickers of brilliance drowned in blood and snobbery, a corpse dressed by Bloomingdale's.
|
| 60 |
Washington Post
There's nothing beyond the bloodshed and gallows humor, just intellectually secondhand implications about materialism, conformity and misogyny.
|
| 60 |
TV Guide
It's not a great film, but let's face it: Considering the source, this is as good as it was ever going to get.
|
| 50 |
Boston Globe
In both senses of the word, American Psycho wastes its women.
|
| 50 |
Christian Science Monitor
A standard-issue slasher movie, stylishly shot, but with little to distinguish it from a long line of "Psycho"-spawned gorefests.
|
| 50 |
Salon.com
(Harron) has made a passionless movie about a passionless man, and it's all supposed to add up to make us feel or even just think something, but what?
|
| 50 |
Film.com
(Herron) just doesn't make the case that this book was worth filming.
|
| 50 |
Village Voice
Lacking any equivalent to the Sadean excess of Ellis's prose, it is also further evacuated of purpose.
|
| 50 |
Seattle Post-Intelligencer
A fairly loathsome and shallow movie about loathsome and shallow people, but it's almost worth catching to see star Christian Bale chew up the scenery.
|
| 38 |
New York Post
A misfiring black comedy oddly reminiscent of all those bad 1990s movies about strippers getting killed at bachelor parties.
|
| 38 |
Philadelphia Inquirer
A high-end version of "The Texas Chainsaw Massacre" set in the rarefied bistros, boites and brokerages of Yuppie Manhattan in the 1980s.
|
| 38 |
Charlotte Observer
Ambiguity can enrich a movie, but artists abdicate their responsibilities if they don't take a stance of any kind.
|
| 20 |
Los Angeles Times
Stillborn, pointless piece of work.
|
| 12 |
San Francisco Examiner
Most of American Psycho just sits there, looking at trouble, rather than looking for it - complacent, overjoyed in fact to exist at all.
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