Patrick Bateman, un rico ejecutivo de banca de inversión de Nueva York, esconde su ego psicopático alternativo de sus compañeros de trabajo y amigos al tiempo que profundiza en sus violentas... Leer todoPatrick Bateman, un rico ejecutivo de banca de inversión de Nueva York, esconde su ego psicopático alternativo de sus compañeros de trabajo y amigos al tiempo que profundiza en sus violentas fantasías hedonistas.Patrick Bateman, un rico ejecutivo de banca de inversión de Nueva York, esconde su ego psicopático alternativo de sus compañeros de trabajo y amigos al tiempo que profundiza en sus violentas fantasías hedonistas.
- Premios
- 7 premios y 11 nominaciones en total
Argumento
¿Sabías que...?
- CuriosidadesLooking for a way to create the character of Patrick Bateman, Christian Bale stumbled onto a Tom Cruise appearance on the Late Show with David Letterman (1993). According to co-writer and director Mary Harron, Bale saw in Cruise "this very intense friendliness with nothing behind the eyes," and Bale subsequently based the character of Bateman on that. Interestingly, Tom Cruise is actually featured in the novel. He lives in the same apartment complex as Bateman, who meets him in an elevator and gets the name of Cocktail (1988) wrong, calling it "Bartender."
- Pifias(at around 1h 21 mins) During Patrick's killing spree towards the end of the movie, when he is running between the two nearly-identical buildings, a Canadian flag is intermittently visible flapping out from behind the building on the left, revealing that this scene was shot in the Toronto-Dominion Plaza, not in New York.
- Citas
[Recurring line]
Patrick Bateman: I have to return some videotapes.
- Créditos adicionalesThe opening credits are accompanied by what appear to be drops of blood, but these become portions of sauce.
- Versiones alternativasFor the US theatrical release, director Mary Harron had to edit the following two scenes (which are available on the unrated edition) in order to receive an R-rating from the MPAA:
- The word "asshole" in the line, "Christy, get down on your knees so Sabrina can see your asshole" was changed to just "ass".
- The threesome during the same scene was trimmed several seconds.
- ConexionesFeatured in Siskel & Ebert & the Movies: The Beach/Snow Day/Holy Smoke (2000)
- Banda sonoraTrue Faith
Written by Peter Hook, Stephen Hague, Gillian Gilbert, Bernard Sumner & Stephen Morris
Performed by New Order
Courtesy of Warner Music U.K. Ltd.
By Arrangement with Warner Special Products, Universal Music Publishing and Warner/Chappell Music,
Inc.
Reseña destacada
Having read the novel by Easton-Ellis a year ago I was intrigued to find out how it could be made into a movie.
Whilst turned off by the totally uneccesary details of Batemans crimes in the book, I felt that Easton's insight into superficial 80's yuppie culture made it a classic.
Who could play a credible Bateman? Leonardo Di Caprio? I think not.
How would Mary Harron deal with those controversial torture scenes?
What we got was one of the finest movies I have seen for some time. Of course, those of closed minds will slate this film without even bothering to see it, simply because of the book's notoriety.
I was impressed to see how closely Harron followed the book, replacing the un-filmable seens with suggestion, aka ear-cutting scene from resevior dogs, so that you believe you have seen more than you have. There are more parallels with Tarantino, such as the use of classic (& non classic ) 80's pop to create a stylised feel to the movie, that has not been seen since Pulp Fiction.
Casting was superb, with Cristian Bale giving the performance of a lifetime, We, the audience, saw the souless monster within, Batemans superficial aquaintences, saw another faceless human being.
Just like the book, you are never sure wether Batemans crimes are real, or just imaginary, but his slide into insanity is clearly real and paced expertly by Bale.
Rheese Witherspoon as Evelyn was disappointing, "Election" showed what a great actress she is and although this role called for an airhead performance, it was clear that she was cruising.
Mary Harron deserves the credit for creating an excellent film, that could have so easily been just another slasher movie.
Whilst turned off by the totally uneccesary details of Batemans crimes in the book, I felt that Easton's insight into superficial 80's yuppie culture made it a classic.
Who could play a credible Bateman? Leonardo Di Caprio? I think not.
How would Mary Harron deal with those controversial torture scenes?
What we got was one of the finest movies I have seen for some time. Of course, those of closed minds will slate this film without even bothering to see it, simply because of the book's notoriety.
I was impressed to see how closely Harron followed the book, replacing the un-filmable seens with suggestion, aka ear-cutting scene from resevior dogs, so that you believe you have seen more than you have. There are more parallels with Tarantino, such as the use of classic (& non classic ) 80's pop to create a stylised feel to the movie, that has not been seen since Pulp Fiction.
Casting was superb, with Cristian Bale giving the performance of a lifetime, We, the audience, saw the souless monster within, Batemans superficial aquaintences, saw another faceless human being.
Just like the book, you are never sure wether Batemans crimes are real, or just imaginary, but his slide into insanity is clearly real and paced expertly by Bale.
Rheese Witherspoon as Evelyn was disappointing, "Election" showed what a great actress she is and although this role called for an airhead performance, it was clear that she was cruising.
Mary Harron deserves the credit for creating an excellent film, that could have so easily been just another slasher movie.
- mikhaigh
- 22 abr 2000
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Detalles
- Fecha de lanzamiento
- País de origen
- Sitios oficiales
- Idiomas
- Títulos en diferentes países
- American psycho
- Localizaciones del rodaje
- Empresas productoras
- Ver más compañías en los créditos en IMDbPro
Taquilla
- Presupuesto
- 7.000.000 US$ (estimación)
- Recaudación en Estados Unidos y Canadá
- 15.070.285 US$
- Fin de semana de estreno en EE. UU. y Canadá
- 4.961.015 US$
- 16 abr 2000
- Recaudación en todo el mundo
- 34.266.679 US$
- Duración1 hora 42 minutos
- Color
- Mezcla de sonido
- Relación de aspecto
- 2.35 : 1
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