Continuing on with the theme of movies asking the question, “what is real” is a film that is not science-fiction but screws around with your perceptions nonetheless. That movie is American Psycho (2000), directed by Mary Harron and starring Christian Bale.

First, the IMDB synopsis.

Patrick Bateman is handsome, well educated and intelligent. He is twenty-seven and living his own American dream. He works by day on Wall Street, earning a fortune to complement the one he was born with. At night he descends into madness, as he experiments with fear and violence.

Set in the late 80s/early 90s, American Psycho (based on the novel written by Bret Easton Ellis) focuses on the then thriving yuppie culture to deliver a pointed attack on greed and selfish behavior, bringing it to a psychotic conclusion in protagonist Patrick Bateman (Bale in a star turn).

For the first three-quarters of the film, the narrative whizzes by sharply as we follow Bateman through his schizophrenic existence – investment banker by day, serial killer by night. As the plot thickens, it seems that Bateman might be exposed for the monster he is but inexplicably, all evidence of his life of crime seems to have vanished.

Did it all happen in his head only? That ambiguity is never clarified even as the film ends with Bateman’s blank stare… rather brilliant, I might add.

Bale is the main attraction here and the rest of the cast (Jared Leto, Reese Witherspoon) is rather incidental. Particularly amazing are the moments he actually recites detailed reviews of his favorite music i.e. Huey Lewis & the News, Genesis and Whitney Houston. Hilarious and creepy, all at once! Lovely!!

Not for queasy stomachs but if you love black comedy and can appreciate a little gore for what it is, then go for it…

Buy at Amazon


A tween horror flick made by people who really should know better.

Written by Diablo Cody (Juno, United States of Tara) and executive produced by Jason Reitman (Juno, Up in the Air), Jennifer’s Body is really too clever by half, trying to be a shocking, funny satire (whilst being a vehicle for Megan Fox) and failing miserably. Sure, a proper analysis will discern that Cody’s script is multi-layered as it comments on high school relationships and such but the narrative pace is too pedestrian and predictable to carry through these concepts.

The main problem with the film is that whilst there are genuine witty moments in the dialogue, it’s just not scary enough and the low gore level will disappoint hardcore fans. Plotwise, this plays like a B-movie from the 70s (especially the rock band bit) with modern irony thrown in for good measure. The performances are mostly even, although Fox is (as always)¬†only a pretty face and she cannot seem to transcend that.

So watch it for Megan Fox, if you must. Watch it if you like witty, ironic dialogue but please don’t watch it if you’re doing it for the horror.



If you’re sick to death of all the vampire-themed movies and TV series that seem all the rage now, then you might want to consider the slight twist that Daybreakers offers to this jaded genre. Basically, in Daybreakers, due to an infection most of mankind have beend turned into vamps and the human minority served as blood supplies. Naturally, this is a diminishing resource and the vamps are in a race against time to find a blood substitute. The consequence of not doing so – vamps devolve into primal bat-like creatures due to blood impoverishment.

Don’t get me wrong, at its core, Daybreakers is a good B-movie but a B-movie nonetheless. There are intriguing performances from Ethan Hawke, Sam Neill and Willem Dafoe although the plotline does lose steam towards the end. Inevitably, deux ex machinas rear ugly heads and the ending will leave you less than satisfied. That all said, the movie is a visual feast and gore-fans will enjoy the over-the-top fight scenes.