When Christian, an LA trust-fund kid with casual ties to Hollywood, learns of a secret affair between Tara and the lead of his film project, Ryan, he spirals out of control, and his cruel mind games escalate into an act of bloody violence.
Nolan Gerard Funk
Justin Sayer suffers from a mental illness which causes vivid hallucinations. The voices in his head have caused him to isolate himself from the world and from his two year old son. After ... See full summary »
Clairvoyant femme fatale Nicola Six has been living with a dark premonition of her impending death by murder. She begins a tangled love affair with three uniquely different men: one of whom she knows will be her murderer.
Brothers Martina and Luca travel from Las Vegas to Hollywood. Along the way they meet two convicts and Cherie a showgirl who flees his representative. The convicts kidnap Martina and force Luca to carry a 3 million bag.
Loosely connected stories capture a week in L.A. in 1983, featuring movie executives, rock stars, a vampire and other morally challenged characters in adventures laced with sex, drugs and violence.Written by
Billy Bob Thornton reportedly did not get along with director Gregor Jordan and admitted to a certain level of confusion when it came to some of the film's themes. See more »
The first traffic scene shown there is a C-4 generation Corvette (came out in 1984 there was no 1983 model) and a first generation Ford Taurus (came out in 1986). See more »
I need something, Martin.
You need some fucking 'ludes.
No, I need something more than this!
Graham, what else is there? You already have everything.
I need someone to tell me what is good. Okay? And I need someone to tell me what is bad.
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In terms of both faithfulness to their source material and sheer entertainment value, the adaptations of Bret Easton Ellis's notoriously difficult, notoriously nihilistic novels have improved exponentially. Granted, these are tales that (on the surface, at least) do little more than add a smattering of sex, violence, drugs, and general bad behavior to the lives of blonde, vacant teenagers growing up spoiled rotten in the 1980s. Film has come a long way toward "understanding" (if such a thing is possible) and transferring Ellis's stock and trade into something cinematic. Directed by Gregor Jordan (whose name even seems pulled from the author's pages), "The Informers" is as scattered as its source (the screenplay was co-written by Ellis), with barely the bare bones of a cohesive plot–events are only really "connected" by the repeat appearances of its bored, oversexed, and/or strung out protagonists. In a very odd way, I was reminded of Terry Gilliam's "Tideland," a recent example of a film where the viewer's best response is to be swept along unquestioningly by the events that transpire, regardless of how ridiculous or bizarre they may be; "The Informers" begins awkwardly, giving only cursory introductions to barely-distinguishable characters, but eventually affects a lyrical rhythm of its own–Jordan composes countless shots of stunning beauty that are also (quite paradoxically) void of any semblance of humanity. True to Ellis, the characters are sad, pathetic, sadistic, and–above all–lost, searching for a deeper meaning that their hedonistic lifestyle keeps them from attaining. While lacking the biting wit of Ellis's work, "The Informers" will likely connect with the author's niche fans; others will find it as empty and nihilistic and pointless as its characters (which, as several note near the end, is the point exactly).
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