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IMDbPro

Informers - Geração Perdida

Título original: The Informers
  • 2008
  • 18
  • 1 h 38 min
AVALIAÇÃO DA IMDb
4,9/10
18 mil
SUA AVALIAÇÃO
Brad Renfro in Informers - Geração Perdida (2008)
A multi-strand narrative set in early 1980s Los Angeles, centered on an array of characters who represent both the top of the heap and the bottom of the hill.
Reproduzir trailer1:55
2 vídeos
39 fotos
CrimeDramaDrama psicológicoSuspense

Uma semana em Los Angeles em 1983, apresentando executivos de cinema, estrelas do rock e outros personagens com problemas morais em aventuras misturadas com sexo, drogas e violência.Uma semana em Los Angeles em 1983, apresentando executivos de cinema, estrelas do rock e outros personagens com problemas morais em aventuras misturadas com sexo, drogas e violência.Uma semana em Los Angeles em 1983, apresentando executivos de cinema, estrelas do rock e outros personagens com problemas morais em aventuras misturadas com sexo, drogas e violência.

  • Direção
    • Gregor Jordan
  • Roteiristas
    • Bret Easton Ellis
    • Nicholas Jarecki
  • Artistas
    • Billy Bob Thornton
    • Kim Basinger
    • Mickey Rourke
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    4,9/10
    18 mil
    SUA AVALIAÇÃO
    • Direção
      • Gregor Jordan
    • Roteiristas
      • Bret Easton Ellis
      • Nicholas Jarecki
    • Artistas
      • Billy Bob Thornton
      • Kim Basinger
      • Mickey Rourke
    • 105Avaliações de usuários
    • 97Avaliações da crítica
    • 20Metascore
  • Veja as informações de produção no IMDbPro
  • Vídeos2

    The Informers: Greenband Trailer
    Trailer 1:55
    The Informers: Greenband Trailer
    The Informers: Trailer
    Trailer 1:50
    The Informers: Trailer
    The Informers: Trailer
    Trailer 1:50
    The Informers: Trailer

    Fotos38

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    Elenco principal44

    Editar
    Billy Bob Thornton
    Billy Bob Thornton
    • William Sloan
    Kim Basinger
    Kim Basinger
    • Laura Sloan
    Mickey Rourke
    Mickey Rourke
    • Peter
    Jon Foster
    Jon Foster
    • Graham Sloan
    Austin Nichols
    Austin Nichols
    • Martin
    Amber Heard
    Amber Heard
    • Christie
    Lou Taylor Pucci
    Lou Taylor Pucci
    • Tim
    Fernando Consagra
    • Bruce
    Aaron Himelstein
    Aaron Himelstein
    • Raymond…
    Mel Raido
    Mel Raido
    • Bryan
    Rhys Ifans
    Rhys Ifans
    • Roger
    Germán Tripel
    Germán Tripel
    • Bryan's Guitarist
    • (as German Tripel)
    Brad Renfro
    Brad Renfro
    • Jack…
    Winona Ryder
    Winona Ryder
    • Cheryl Moore
    Suzanne Ford
    Suzanne Ford
    • Bruce's Mother
    Cameron Goodman
    Cameron Goodman
    • Susan…
    Angela Sarafyan
    Angela Sarafyan
    • Mary
    Chris Isaak
    Chris Isaak
    • Les Price
    • Direção
      • Gregor Jordan
    • Roteiristas
      • Bret Easton Ellis
      • Nicholas Jarecki
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários105

    4,917.8K
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    Avaliações em destaque

    Benedict_Cumberbatch

    It's shiny, it's sleazy, but it's no Easton Ellis

    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.
    6Rodrigo_Amaro

    It was okay! But behold, there's trouble ahead.

    It's kind of strange to explain why I liked this film. Maybe it was the ensemble casting united; or maybe it's because I tend to enjoy hyper-linked stories where unconnected situations and characters will connect with each other at the ending; I really don't know. Or more important, perhaps I didn't find reasons enough to dislike it even though there were plenty of them.

    Bret Easton Ellis adapts his own novel into the screen and even though I haven't read the book I believe this is somewhat well adapted, very close to his style of writing and characters presentations and inconclusive endings to some of them. The story presented has several characters (played by Billy Bob Thornton, Kim Basinger, Jon Foster, Lou Taylor Pucci, Winona Ryder, Brad Renfro, Mickey Rourke, Chris Isaak, Rhys Ifans among others) messing up with their lives while trying to figure out a meaning to it. It all takes place in the 1980's (as usual with Ellis works) and it does involve sex, drugs and rock n'roll.

    The problem with "The Informers" is that it is a movie that doesn't have a heart or it just doesn't beat enough, by that I mean that you leave the experience without getting much except the reunion of a good cast giving average performances. We're thrown with these characters, know few things about them, then the story tries to conclude something but not enough to let us take our own conclusions of why they do what they do. For instance, the story involving the kid and his father on vacation trying to get to know each other where the father tries to communicate with his son who knows that this is impossible, since they have nothing in common. It only gives innuendos about the boy's sexuality, some sort of confusion and in the end we kept wondering what was that all about. There's something there that could be explored more, the script never answered what needed to be answered so the bond with its audience is a little inexistent.

    The weakest aspect of all is that it doesn't look the 80's, it's too much 2000's, it's too updated. To have an good example of recreating an decade years later and also a film based on Ellis novel, "American Psycho" was infinitely better not only the story but also bringing the 1980's back with their colors, the loud music (and of great quality), the pop culture references. In "The Informers" it's only a music here and there or a TV report about the AIDS that inform us that we are in another decade.

    This melancholic tale about ill fated characters living as a lost generation has its good moments. It's a good film, it never leaves you uninterested or bored or angry. It's main difficulty is a script that doesn't dig a little deeper and rarely gives some powerful insights about how troubled was the 1980's even with everything going in your favor like the characters presented here, all rich and beautiful but miserably sad. 6/10
    4prodbabies

    All This Talent......But It Did Not Amount To Much!

    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.
    6Jonny_Numb

    Informers: Revenge of the Sullen

    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).
    7AMichaelL

    Existential Nihilism is Real...I know people like these ones.

    I am shocked by the terrible/mediocre reviews. This is an incredibly dense movie masquerading as a bunch of moral-free vignettes. The main thing to take away from this movie is: nothing. There is no discernible meaning to life when lines get blurred. Grant, sort of near the end, tells Martin that when you don't know what is good or bad, you don't know what to do anymore. This sums up this movie perfectly. I know people like this...that is, people who have everything and act like it is nothing. People who are so self-centered and naive that they actually believe their nihilism is justified. Maybe it is, maybe it isn't, but it is fascinating (for me at least) to watch. Every character is fleshed out pretty well, it is just that the details of their characters are semi-buried. If you watch closely, I think most will find an intimate portrait of bad people (Renfro's character may be the only 'decent' person in the film...and yet he aspires to be like the 'bad guys'...what does this say about our culture? This movie is tragic, but not in the usual way. We are forced to watch characters who have it all and act aloof. I kept thinking throughout the film, a surefire sign something was done right. I can easily imagine myself in the main characters' shoes - so withdrawn (from riches and drugs) from society that good and bad don't even exist anymore. Instead, there is just life - and to them, it sucks.

    Yes, there is some to be desired here, but I think this film more than any of the other Easton-Ellis adaptations shows how Brett views the world - as a cold place where those who have it all have nothing, and those who have nothing - still have nothing.

    From a film-making standpoint, there was some to be desired, but Gregor Jordan, overall, is an excellent filmmaker. I give this film a 7 for strong visuals (more impacting than the dialogue. usually) and a very realistic look at the philosophy of nihilism.

    Enredo

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    Você sabia?

    Editar
    • Curiosidades
      Brad Renfro, who played Jack, considered giving up acting before he was cast in this film. It would ultimately become his final role, with the film being released shortly after his death.
    • Erros de gravação
      When Peter shows Jack the child in the van, a crew member can be seen through the windshield looking in. He tries to get out of the way, but does not succeed.
    • Citações

      Graham Sloan: What are you trying to tell me, baby? What are you saying?

      Christie: I want... I want to stay.

      Graham Sloan: But it's getting cold.

      Christie: But I need more sun.

      Graham Sloan: There's no more sun.

    • Conexões
      Edited into The Rotten Tomatoes Show: 17 Again/State of Play/Crank High Voltage (2009)
    • Trilhas sonoras
      New Gold Dream (81/82/83/84)
      Written by Jim Kerr (as James Kerr), Charlie Burchill (as Charles Burchill), Derek Forbes and Michael McNeil

      Performed by Simple Minds

      Courtesy Virgin Records Ltd.

      Under license from EMI Film & Television Music

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    Detalhes

    Editar
    • Data de lançamento
      • 24 de abril de 2009 (Estados Unidos da América)
    • Países de origem
      • Estados Unidos da América
      • Alemanha
    • Centrais de atendimento oficiais
      • MySpace
      • Official site
    • Idioma
      • Inglês
    • Também conhecido como
      • Los confidentes
    • Locações de filme
      • Buenos Aires, Distrito Federal, Argentina
    • Empresa de produção
      • Senator Entertainment Co
    • Consulte mais créditos da empresa na IMDbPro

    Bilheteria

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    • Orçamento
      • US$ 18.000.000 (estimativa)
    • Faturamento bruto nos EUA e Canadá
      • US$ 300.000
    • Fim de semana de estreia nos EUA e Canadá
      • US$ 300.000
      • 26 de abr. de 2009
    • Faturamento bruto mundial
      • US$ 382.174
    Veja informações detalhadas da bilheteria no IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      1 hora 38 minutos
    • Cor
      • Color
    • Mixagem de som
      • Dolby Digital
    • Proporção
      • 2.35 : 1

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