Critic Reviews

A lean and mean horror comedy classic.

Funny, pungent, and weirdly gripping.

Harron's adaptation of Ellis's novel is brilliant, probably better than the book itself.

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.

An uneven movie that nonetheless bristles with stinging wit and exerts a perverse fascination.

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.

An ethereal, creepy, almost breathtaking meditation on the life of a mind snapped in two.

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).

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.

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.