On the 20th anniversary of Mary Harron’s adaptation of the controversial Bret Easton Ellis novel, we pay tribute to the first great horror movie of the 21st century
while several women’s organizations declared it misogynistic and a Florida-based lawyer threatened a lawsuit sight unseen. A premiere at Sundance ended with someone in the audience asking how Harron would feel if someone sawAudiences didn’t know what to make of it when it finally hit screens on April 14th, 2000; its deserved, proper cult-film status was still years away. Even then, however, you could glean how Harron and Co.
. And when the savagery comes, it’s pure scenery-chewing time, from all that snarling to that hip-shaking,Only Bale also has to nail the fact that Bateman is, to quote Turner, “all surface and more surface,” and this is where he finds fertile ground to till. A lot of performers could do affectlessness, or rich-prick smugness, or boiling-over madness. Bale manages to combine all three while still making you think he’s mouthing transmissions beamed from far, far away.
comes from, and so much of the unsettling feeling you experience while watching it. It’s not the banality of his evil, it’s that emptiness of everything around it. This is why Bateman comes off less like the product of a bad environment and more like just part of the go-go ’80s landscape. He’s thespread as cutthroat-capitalist success story, emphasis on “cutthroat.
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