THE PLOT THUS FAR
Although Elliss writing style is difficult to translate to screen, many film versions have been critically and commercially successful Less Than Zero although sadly hijacked with a misplaced anti-drug message holds a certain charm, Christian Bales brilliant Patrick Bateman appeared in a humourous version of American Psycho, and Rules of Attraction captured the non-linear style of the novel effectively. The success of these films lies in the various appropriations and adaptive techniques employed to transform them from Elliss superficially simple but truly complex prose, rather than an attempt to transcribe them more faithfully in a visual sense. However, with a screenplay promisingly co-written by Ellis with Nicholas Jarecki, The Informers seemed move towards a more direct cinematic rendering of one of Elliss creations. However, following the replacement of Jarecki as director by Gregor Jordon, the absurdist, lighthearted, and expansive satire promised by Ellis in pre-production has failed to emerge.
The whole film seethes with dark despondency, failing to present any comic relief or bright moments amongst the desperate criminals, unprotected lovers and uncontrollable rock stars. Rampant with random acts of debauchery, a total lack of supervision (which Graham practically begs for), and unexplainable violence, The Informers suffers from dire need of significance. With too many characters, representing the top and bottom of 1980’s LA life, along with inconsequential dialogue and relations to fill in the gaps, the reasons behind any of the characters or their multiple narrative subplots is painfully obscure. Much is explored but nothing is explained. It is impressive, however, that the large cast of familiar faces agreed to participate in a film that struggles so desperately to get to the point.
RELEASE DATE: 08/25/09