The Informers

Acting was superb but the film was a LOT darker then I expected it to be. My expectations were way off going in. I thought it would be an upbeat film with some edgy scenes and instead I felt like I was living the roller-coaster life of an addict for 2 hours. I feel I am a pretty opened minded person but I think the sex and drugs were over the top and there was enough for 10 films put together. I would have liked to know the characters a little more. It would have been nice to have a little more dialog and less pulls from the bottle, hits form the bong, and group sex scenes. I never felt really connected to any of the characters and I only felt sad for them. I walked out of the theater feeling icky and little depressed so I would not see it again or recommend it.

The informers is not a bad movie, but it is definitely not a movie you would like to see twice. Various stories are told and lives are exposed in this film but nothing shown really gets to the viewer. It's main aim is to show the very essence of some of the luxurious lives of California big shots at the end of the 80s.

While intensive drug abuse, cheap rock n' roll and sex is going on the director shows confrontational situations within families, adolescents that have everything and nothing at the same time and Micky Roorke, that was probably in this film as a source of information about the 80s cocaine as the new trend and career downfall. No complains with K. Basinger and Billy Bob though there is no mayor performance in the cast. Script could have been much better and it's far from original.

There is literally no need for anyone to watch this film unless you want to see the dark side of fame and Hollywood which is definitely a cliché.

I had good expectations about "The Informers". Being a fan of Bret Easton Ellis' writing, knowing that he co-wrote the script himself, and with a cast that includes names like Billy Bob Thornton and Mickey Rourke, it had everything to be a new cult favourite, right? Wrong. I'm not familiar with Gregor Jordan's previous work ("Two Hands", "Buffalo Soldiers"), and given his speech before the film première at Sundance on January 22nd, I don't doubt his good intentions about this project. Unfortunately, a good movie isn't made just of good intentions. As in most of Ellis' work, the protagonists are a bunch of shallow, pretty rich kids (Jon Foster, Lou Taylor Pucci, Amber Heard, among others) and their just as shallow elderly peers/parents (Kim Basinger, who played Foster's lover in "The Door in the Floor", now plays his mother, who's depressed because of her husband's – Billy Bob Thornton – affair with the confused newswoman terribly played by Winona Ryder; less serious is Chris Isaak as Pucci's womanizing father, who seemed to have fun playing his character), in 1983 Los Angeles.

Jordan said during the Q&A that this is a movie about Los Angeles, and that Robert Altman's "Short Cuts" was an inspiration for it. It's light years away from the depth, originality and brilliance of "Short Cuts", though. Jordan doesn't know how to direct this sort of material; it pales in comparison to Mary Harron's insanely secure hand over "American Psycho", also based on an Ellis novel. "The Informers" doesn't even engage the audience like the flawed, but fairly entertaining "The Rules of Attraction". It tries too hard to be a cool movie and fails, almost always, miserably. The overall acting is pretty mediocre, although Isaak and Pucci bring some life to their characters. Foster, who was great in "The Door in the Floor", shows that he's not yet ready to play a lead (and he didn't even have to carry the movie on his shoulders à la Christian Bale; this is a big ensemble where nobody really stands out, and I'm including a pre-Wrestler Mickey Rourke and the late Brad Renfro, who plays the perhaps only likable character, in the list).

Jordan said Ellis was afraid to show up for the movie première at Sundance, probably predicting the criticism that was to come. I don't blame him (and I feel for Jordan too since you gotta respect someone who has the guts to face the honor - and pressure - of having your movie premiering at Sundance). Although nobody was impolite during the Q&A, the movie got trashed by the critics afterwards.

I have no idea how well this is gonna do at the box office, although Amber Heard's constant nudity will certainly catch some attention and give her lots of job offers (too bad her acting skills are still rather poor). I wouldn't call "The Informers" a terrible movie, just a very forgettable one. The final scene (not the conclusion, but the very final scene itself) is disturbing, sad and yes, memorable; but by then you feel like you wasted too much time with something that's been done several times, and much better, before. 4/10.

Well I just saw this film first thing Friday (opening). I was seated near a gentlemen who was having quite a reaction to every scene, and in one scene (not a good one for the acting - but I will get there in a minute) he literally started waving his arms and shaking his head. I look over and the man was tearing up and I though he was nearly about to breakdown in full tears. Seeing such a powerful reaction to some very early scenes in the movie, I thought to myself, "Maybe this is the guy who wrote it??" The novel I thought, unaware at the time who wrote the screenplay. So immediately upon my return, I googled Bret Easton Ellis pics and reviewed many photos. I would bet my life it was him next to me today. Hair a little longer and darker than in some photos, but same nose, and face and exact same eyes. Again he was right next to me so I was not seeing him from across the theater. I asked (whispering) if he was OK. He said yes, then a moment later (after another reaction) quietly got up and moved to the back of the theater. A while later he exit in the middle of the film.

Now, for the film itself. This is no "Less Than Zero" which would be the closest genre comparison of the Ellis filmography.

While some of the veteran actors gave decent performances the material seemed more shallow than the LA socialites the film was following. But after watching the film I suspect this is much more the fault of the directing than anyone else. It takes the proper hand and understanding of Ellis material to make it work on the stage or film. Unfortunately, two of the lesser performances came from actors we see much more in the film. Foster and Raido seemed like actors "acting" like the types rather then being the types. While the veteran actors seemed to add depth to their performances (beyond the material presented) these two "acted" on a very shallow level, as though trying to imitate the type of person they thought they were playing. Apparently giving their character little thought.

The movie sets up many broken and damage relationships and a couple of potentially heated situations, before it suddenly ends.....What??? The entire film ends up being a slice of life (many tragic life's) type of film, with little story or payoff as the ending comes abruptly. At the end I could care less about there problems or issues and the story and directing doesn't help those feelings.

Now I am not a person who goes to films to see naked women (a little to old to make that the priority and was unaware of this one), but when the movie was over all I could think was "at least Amber Heard was naked / half-naked a lot and she looked good!" In the lala land of skinny, to outrageously bony women, this one has nice curves. But its sad when you leave a film thinking "where was the story" and you know you will only remember the girl who looked good in "THAT FILM" cause the title and film itself will be forgotten quickly! Now I have not read the Ellis novel, but he did help write the screenplay. Based on his reaction, I can't help to feel this film is not what he imagined it would be. It certainly was not up to what Hollywood has been able to do with some of his other works.

To Ellis (as I am sure it was), remember the feeling you had while watching the film. And make sure the next time you sell your story to Hollywood to get paid enough money so you can take it a little easier when the "Filmmakers" butcher your work (who likely did not want you interfering with them cause THEY know how to make films, not some writer)! Or in this case, they at least produced a very unsatisfying film.

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).