"This isn't life! It's stuff! And it's stopped you from living!"
-Actor Kevin Spacey, as Lester Burnham

"Inside? Inside doesn't matter."
-Actor Christian Bale, as Patrick Bateman

"I have seen all the things under the sun; all of them are vanity, a chasing after the wind."
-King Solomon of Israel

In the shadow of the postmodern opus "Fight Club", which railed against the modern, materialist, American consumer ideal, the newly released "American Psycho" and the re-released Academy award Winner for Best Picture, "American Beauty", explore similar themes. My wife and I enjoyed both films and found that "Psycho" used melodrama to demonstrate how the American ideal is nothing more than a hollow veneer, while "Beauty" employed a sobering realism not only to point out the dysfunction of the American dream, but to point, at least in the general direction, of the solution.

As the film opens with opulent plates of food-made-art, we see that "Psycho" is the story of Patrick Bateman-Wall Street's spoiled son-who enjoys every superficial indulgence 1980's America has to offer. Some refer to the '80's as the "decade of greed", and some critics think it merely captures the spirit of the '80's... but the message is timeless. The bottomless greed and empty pursuits haven't changed; the '80's were just a time when we were honest and didn't wear masks. Even Bateman, as he peels off a hydrating facial cleansing mask at the film's beginning, admits there isn't much underneath. Working out, wearing designer suits, even watching himself in the mirror while he has sex, he is Adonis-a god of beauty. And, unlike every one else trapped in this cultural materialism and self-worship, he knows it and reviles himself at the same time. He seeks to complete the impossible American blueprint-to follow the latest trends while still distinguishing himself, to fit in and yet be a cut above-to conform AND to be an individual.

"The only one you can empathize with is yourself."
-Actor Christian Bale, as Patrick Bateman

"Learning to love yourself is the greatest love of all."
-Singer Whitney Houston, as cheesy pop diva

When the impossible competition drives him mad, Bateman murders a co-worker simply for having a better business card. Obsessed with music, he goes on lengthy diatribes about 80's bands with his intended victims, discussing Huey Lewis, Phil Collins, and most poignantly Whitney Houston's lyrics as they relate to "loving one's self". The film shows us that self-love is no answer, as Bateman sees the hypocrisy and soullessness of society and strikes against it, exploring his homicidal and sexually deviant fantasies in a depraved attempt to distinguish himself, to fill the void within him. When he finally explodes and goes on a careless killing spree, however, Bateman learns the ultimate lesson. The empty pursuits of Americana grip everyone so firmly that no one even pays attention or acknowledges what he's done. Even the man he confesses to refuses to believe him. They would rather live self-deluded than acknowledge the truth of their existence. Bateman collapses in despair, seated with his fair-weather friends in a posh bar, and as the sign behind him on the emergency door reads, "this is not an exit", we understand that the film offers no escape from this futile existence.

"In order to be successful, you must present the appearance of success at all times."
-Actress Annette Bening, as Caroline Burnham

Whereas "Psycho" focused on the American iconization of the single, corporate climbing male complete with all the toys, "Beauty" targets the American family ideal, also exposing it as a sham. The movie's central family is the Burnhams, with their beautiful home in the suburbs and picture perfect life... except that all lines of communication have broken down. Both parents work (she sells real estate, he writes for an ad company) and they hardly know their daughter. The dinner table is merely the forced stage play of a family. Husband Lester (a spectacularly nuanced performance by Kevin Spacey) realizes that his life has no meaning, no depth-which he has ultimately missed or lost something important. He tries to break free from this bondage in various ways-quitting his job, smoking pot-but his main desire becomes bedding his daughter's best friend, a blonde cheerleader who flaunts her sexuality and numerous experiences. Along the way, however, he begins to learn important lessons about materialism and the false faces people wear to hide their dysfunction.

New neighbors have moved in next door, a retired military man and his near-comatose wife, with their one son Ricky, (played by the great new talent Wes Bentley). The family is equally dysfunctional, and it's a frightening commentary on a diseased America when the sanest person on the suburban block is the drug-dealing son. But Ricky is the only one even close to having his head on his shoulders. Obsessed with videotaping everything, he wins the heart of Jane because, unlike her father Lester, he is strong and disciplined internally. It's sad to see Jane actually craving a "strong role model and discipline" because there's none present at home. When showing her his favorite tape, Ricky describes how he received this inner peace and strength as feeling a "benevolent force that showed him he no longer needed to fear". More on that later.

Lester becomes more fearless as the film progresses, although Caroline breaks down first and sleeps with her idol, the "real estate king" of the area. Her self-help cassette reinforced "me-centered living" brings her nothing but heartache, and rage against her husband. When Ricky's father-an even tighter bundle of buried insecurities-beats his son severely, Ricky goes to Jane and suggests they escape this American dream-turned nightmare. In the living room with his teen conquest, however, Lester is about to reach his goal, only to discover the truth-that this is just another fruitless chase and will not satisfy his expectations. The hole inside his soul will not be filled. Staring at a picture of his family, he begins to realize what's important, but then a gunshot rings out...

It's amazing that Hollywood would be so bold as to condemn both materialism and the American dream. What's not surprising is that they can't supply any answers or alternative. While Lester teeters at death's door, hindsight provides him the ability to appreciate the beauty in his "stupid little life", but that is the best hope he can give us. As Christians, we see these people every day-wounded, hollow, trying to fill their God-shaped hole with everything BUT him, and never being satisfied. Ricky's "benevolent force that tells us not to fear" is truly Jesus Christ, and the relationship that he creates between God and man is the same thing Lester Burnham stared at before he died-the portrait of a family. The dissatisfaction with job, life, and family are understandable, because they lack a vital element:

"A man can do nothing better than to eat and drink and find satisfaction in his work. This too, I see, is from the hand of God... for without him, who can eat or find enjoyment?"
-Solomon, from Ecclesiastes

Although the sex and violence in "American Psycho" is not as gratuitous or glamorized as in many horror or skin flicks, many Christians may want to pass on this film due to conscience issues. It is very graphic and explicit, and contains much profanity. Since "American Beauty" is not only tamer in that respect, but also an Academy Award Winner, I would highly recommend Christians see it for use in conversation with non-believers. Both films were well crafted, directed, scored, and acted, and I don't think many will be disappointed. Some have criticized "Psycho"-specifically Bale's acting-but they misunderstand that the over-the-top acting-style is the film's way of using melodrama and satire to illustrate its point. Bale is acting like a man acting like a human being, as we are expected to act in this culture. American Beauty uses more traditional dramatic methods, while still bringing out glaring troubles in American culture today.

American Beauty- A-

American Psycho- B