Lurker > Squall28

Did you read the damn link?

If you already own the game, then the characters arent locked for you. Its only for new accounts that the characters are locked.

It's really just boomers and corporate bootlickers gaslighting workers (mostly younger) for not providing maximum effort for minimal reward

Yeah this is america; the money should just be going to corporations

fighting inflation by inflating the economy further

genius

You know what you did

Some people just want a break man.

I find it easier to read that she's uncomfortable that a crazy guy has run into this place

Lol what? The murders happened.

The scene with the realtor was pretty straighforward unless you don't sense nuance.
Her instant switch in demeanor the moment she realizes who he might be makes it clear that she's very much aware of what had been cleaned from there.

it's pretty obvious he doesn't murder all those people

only the most literal of people will think otherwise.

In that case, what is the significance of showing the audience that scene? The immediate previous scene just established that Bateman can't be brought accountable for his feelings/actions even when he tries.

Her face is even ambiguous as we glimpse it before the camera changes to focus the drawings, it kinda looks like she's smiling even, as though to think "wow Bateman, you dork."

To show that scene in the final three minutes of the film as Bateman's place in the world is wrapped up and he gives his monologue-- what is the utility of that scene if it's to show that somebody is aware of Bateman's murders? To say that actually, the mask can be pulled off? That doesn't seem to agree with everything else presented in the ending.

To me and Mary, the book left it up in the air, too, what was real and what was not real. We didnt think that everything was real because some of it is literally surreal. But we just decided, together, that we both really disliked movies where the big reveal is that it was all in someones head or it was all a dream, Turner said.
We just both find that annoying. We just said were going to make a really conscious effort to have it be real, and then at some point hes sort of perceiving things differently, but theyre really happening.

I don't think so, he takes the moment far too seriously and the moment of being given evidence Paul is alive seems to sway Patrick. It's specifically setup that Paul Allen claimed to go to London before disappearing too, so it would be a pretty big coincidence in a medium where there's no such thing as coincidences.

Paul Allen is also pretty high on the yuppie totem pole, the kind of guy who can get reservations at Dorsia. He's not like Patrick Bateman who's true form is described as a "dork, such a boring spineless lightweight", ie not someone you just mistakenly think you had dinner with TWICE. I agree a theme of the move is the superficiality and indistinguishable nature of everyone, but I think the directing of the "I had dinner with him twice in London" is too forceful to write it off as the lawyer's error.

And the scene of the lawyer denying it's possible is immediately proceeded by the secretary looking through Patrick's calendar and seeing all his fantasy drawings including depictions of what supposedly happened in the movie. As though not just the audience but Patrick himself is realizing those sequences were just his imagination.

In my watch the movie is pretty unambiguous that the murders didn't happen. Paul Allen really did go to London as confirmed by the lawyer, and most of the murders in the movie take place at "Paul Allen's apartment." The London story was discovered by Willem Dafoe, and Dafoe confirmed that Patrick was with his pals the night Paul disappeared.

The sequence from where the ATM tells him to feed it a cat up until he calls his lawyer is flagged from the beginning to not quite be reality. Patrick hallucinates the message from the ATM. Then the police cars explode like an action movie after he fires a couple potshots at it. He even looks at his gun, bewildered, at what just happened.

A particularly critical detail in this sequence is the office buildings. First, Patrick enters a building as though he is fleeing to his office. The clerk spots him so he shoots him, and he shoots the janitor on the way out. Then the next building we see Patrick enter is... clearly the same building. Its layout is identical, and this time Patrick greets the clerk as though he is pulling out a gun but really takes out a pen.

This visual cue of "Patrick says his real, frustrated feelings, then restates the 'appropriate' response" is echoed repeatedly in the movie, and it's no mistake that this scene is presented the way it is. The first building is what happens in Patrick's fantasy, and the following loop is his mundane reality.

It's also noteworthy that the major scenes Patrick has when not with his coworkers are all structured like different genres of fantasy. Patrick records himself with the prostitutes to do his own porno. The chainsaw murder where Allen's apartment is filled with corpses is Patrick starring in a slasher flick. And the police chase is Patrick's action movie.

What is Patrick's recurring catch phrase? "I have to return some video tapes."

Him filming the porno happens after we see a similar porno on his television. The slasher fantasy coincides with him listening to the screams of a slasher flick while doing his morning crutches.

You should get the Xenoblade games as well.
And Shin Megami Tensei V.
And Fire Emblem: Three Houses.
And Super Mario Odyssey.
And Astral Chain.

...And more.