PROMISING YOUNG WOMAN writer-director Emerald Fennell has cited AMERICAN PSYCHO as one of her cinematic reference points when creating her first debut feature, which was enough reason for us to revisit Mary Harron’s 2000 cult classic ‘80s satire to see if there’s more to that comparison than the films’ shared taste for dark, dark humor. First up this week, we dig into AMERICAN PSYCHO’s inscrutable protagonist and even more inscrutable ending, its approach to adapting what many considered an unadaptable Bret Easton Ellis novel, and whether the characters in this film who are not named Patrick Batemen have any lasting resonance. Plus, we respond to some feedback regarding our recent episode on Pixar’s SOUL, and another about the pandemic’s effects on our home-viewing habits.

Please share your comments, thoughts, and questions about AMERICAN PSYCHO, PROMISING YOUNG WOMAN, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. 

Works Cited:

• “The Frustrating Tradition Behind Soul’s Great Flaw,” by Robert Daniels (polygon.com)

• “Stop Telling Me To Turn My Brain Off At Movies,” by Matt Singer (screencrush.com)

• “Pixar’s Troubled ‘Soul’” by Namwali Serpell (newyorker.com)

Outro Music: Huey Lewis and the News, “Hip to Be Square”

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