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->"''There is an idea of a Patrick Bateman, some kind of abstraction, but there's no real me, only an entity, something illusory.''"
-->-- '''Patrick Bateman'''

''American Psycho'' is a novel by Creator/BretEastonEllis first published in 1991. It is the story about the archetypal [[TheEighties '80s]] businessman: rich, shallow, unhappy, self-absorbed--and a sociopathic SerialKiller.

Patrick Bateman is a yuppie's yuppie. He works on Wall Street, has a pretty girlfriend, and spends most of his life in trendy restaurants and clubs. However, he is also a psychotic serial killer who often hallucinates and murders people in increasingly horrific ways, for no reason. Most of the people in Pat's life don't really know anything about him, but then, he doesn't know anything about them either. Most of the people he knows can't even be bothered to remember his name -- but he isn't so sure about their names either, so it all evens out. There is no one who listens to him; he confesses at least once a week, but no one seems to notice or indeed care. And Ellis [[WordOfGod explains]] that Patrick may not ''really'' be a serial killer. Patrick may just be harmlessly insane. Or bored. But Patrick may also be speaking the absolute truth. [[{{Applicability}} It's up to the reader to decide]].

The book also crosses over with Ellis' earlier novel ''Literature/TheRulesOfAttraction'', but like everything else, it's of [[RedSkiesCrossover no consequence]] whatsoever. The main character Patrick Bateman also makes appearances in his later books ''Literature/{{Glamorama}}'' (1995) and ''Literature/LunarPark'' (2005).

In 2000, the story was adapted into a feature film by Mary Harron and Guinevere Turner and starring Creator/ChristianBale as Bateman, which has since grown a cult following. A movie sequel InNameOnly is described [[Film/AmericanPsycho2AllAmericanGirl on another page]].

There is also [[http://en.wikipedia.org/wiki/American_Psycho_%28musical%29 a musical version]] that ran in 2013 at London's Almeida Theatre, featuring Creator/MattSmith as Bateman, and in 2016 at New York's Gerald Schoenfeld Theatre, starring Benjamin Walker.

Inspired the song and album title of the same name from Music/TheMisfits. Not to be confused with the song by Canadian rock band TrebleCharger or the experimental track by Music/JohnZorn on ''Music/{{Radio}}''.
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!!Examples:

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[[folder: Tropes Present in American Psycho]]
* AllJustADream: All adaptations allow for the possibility that all the murders only took place inside Bateman's head. {{Word of God}} for the movie version has it, on a DVD commentary track, that when the two co-writers were writing the film they thought of it as having every single murder in the story really taking place in some fashion or other [[UnreliableNarrator but never in exactly the way Bateman hallucinates/lies about/misremembers it.]]
* AluminiumChristmasTrees: Peanut butter soup is actually a real thing (nkatenkwan, the national dish of Ghana), although it's usually made with chicken and yam, rather than duck and squash.[[note]] Given that the book was written before the internet, it's unlikely Ellis would have known about it at the time, so this is potentially an example of AccidentallyAccurate.[[/note]] Mud soup and charcoal arugula are still just plain ridiculous, though.
* AmbiguouslyJewish: Both the book and movie portray an early scene of dialogue where Bateman plays devil's advocate for political correctness when he calls out a colleague for claiming that a business rival is Jewish and was "spinning a menorah" in his office.
* ArcWords: "This is not an exit"
* AssholeVictim: Paul Owen/Allen was a colossal prick and Evelyn (not killed but definitely emotionally devastated) was a pretty horrid individual.
* AnAxeToGrind: Patrick uses an axe to kill Paul Owen/Allen.
* BadPeopleAbuseAnimals: In both the movie and the book, Patrick stomps a dog to death that belonged to a homeless man he previously stabbed. In a chapter in the book, he disembowels another dog, then shoots its owner; in a chapter set at a zoo, he throws nickel coins to the seals, just because he saw a table asking people not to do so (because they can choke on them).
* BeneathTheMask: Publicly, Patrick is charming, mild-mannered, and likable to those in his circle of friends. Privately, Patrick is a violent sadist incapable of empathy, remorse, or compassion. He explicitly refers to his friendly facade as his "{{mask of sanity}}".
* BerserkButton: Anything that gives Bateman the idea that he has/gets less than the absolute best or that there is someone in his social circles that might be better than him. For instance, the very thought that Patrick will not get a good table at a restaurant is enough to put him "on the verge of tears". Also, as much as he despises Luis, it's the fact that Luis had business cards that Patrick thinks are better than his own that drives him to [[spoiler: attempt to]] murder Luis almost immediately.
* BlackComedy
* BorrowedCatchphrase: In part of the work's satire in shaping Bateman as a product of 1980's American culture and values, as molded by its media and most prominent political figures, Patrick appropriates other popular phrases of the era for himself. Most notably, Nancy Reagan's "Just Say No", and, more humorously while speaking on a telephone, George H.W. Bush's "Read My Lips".
* CantGetInTroubleForNuthin: No one suspects Patrick of anything, even after he confesses everything.
* CapitalismIsBad: Patrick's and his associates' entire existences revolve around being shallow consumers of high class commercial products like designer clothes, expensive watches, fancy electronics, and getting reservations in highly fashionable restaurants. For Patrick, this emphasis on commercial consumption not only compels him to murder people out of jealousy for having more or better stuff than he does, like Paul Owen/Allen, but also causes him to see other people as products for his personal consumption, first realized through his penchant for prostitutes and escorts and later taken to a metaphorical extreme when he [[ImAHumanitarian turns to cannibalism]].
* CassandraTruth: There are times when Bateman openly confesses his crimes to people, who either don't believe him, mishear him, or think he's joking.
* CatchPhrase: "I have to return some videotapes."
* CrapsackWorld: Almost every character, with the exception of Jean, is an absolutely odious individual, lacking in anything even remotely like a redeeming feature. They pretend to be conscious of tragic news stories and global crises (murders, drugs, mafia, nazis, AIDS, homelessness, Sri Lanka, et. al.) but don't really care about any issues strongly enough to do anything to fix them.
* CriticalResearchFailure: InUniverse, and more frequently in the book than in other sources. As much as Bateman portrays himself as possessing immense knowledge and informed opinions in appreciation of pop culture, music, movies, TV, and other trivia, he does occasionally get things wrong, although this isn't always made glaringly obvious:
** In all adaptations, there's a scene where Bateman references a quote which he attributes to infamous murderer Ed Gein. In actuality, [[GeniusBonus the quote in question was said by another serial killer, Edmund Kemper.]]
** In the book and musical, a character points out to Patrick that he hung his cherished, original David Onica painting upside-down.
** Moreover in the book:
*** Patrick frequently refers to the depiction of "Eponine's" face on posters for the Broadway musical ''Theatre/LesMiserables''. The actual character appearing in [[http://www.paminasopera.com/wp-content/uploads/2013/01/les-miserables-musical-poster-01.jpg the promotional posters]] is Cosette.
*** He identifies the saddest song he knows as " 'You Can't Always Get What You Want' by The Beatles", which also humorously demonstrates complete ignorance of the uplifting, reassuring quality of the song's pop hook that explains, "You get what you need."
*** Conversely, Patrick names the happiest song he knows as Bruce Springsteen's "Brilliant Disguise", whose lyrics actually paint a more troubling image of a narrator expressing confusion, doubt, and anxiety over whether his lover holds any true feelings for him [[BeneathTheMask beneath her mask]].
*** At a Music/{{U2}} concert, Patrick and his friends aren't sure which one is "The Ledge".
*** He attempts to compliment Tom Cruise while sharing an elevator by telling him how much he liked the actor in the movie "''Bartender''". Tom Cruise corrects Patrick on the film's actual title--''Film/{{Cocktail}}''.
** Timothy Price/Bryce makes the claim when trying to sound world conscious that "Sikhs are killing ''tons'' of Israelis" in Sri Lanka.
** In the movie, Patrick says ''Fore!'' was released in '87, although in reality, it came out in 1986.
* DisposableSexWorker: "Christie" in the movie, and Bateman murders several more prostitutes in the book.
* DisposableVagrant: Bateman also targets homeless people just as often as prostitutes. A beggar named Al, in particular, is presented to readers/audiences as Patrick's first victim. In the book, Al is suggested to have survived his encounter with Patrick and reappears later in the second half.
* DisproportionateRetribution: Several of Bateman's victims are killed out of jealousy or vengeance over incredibly petty grievances.
* DumbBlonde: Evelyn and Courtney, primarily. Also, three models (Libby, Daisy and Caron) Patrick and his associates mingle with in a nightclub. In the book, when they're asked to name any of the planets, two guess the Moon, and the third one guesses Comet. This is deconstructed with one of the models lamenting this and saddened by how Bateman sees her as nothing but a brainless squeeze, suggesting [[HiddenDepths there is more to her character]], but she doesn't mind because [[HorribleJudgeOfCharacter she thinks Patrick is actually a nice person]].
* TheEighties: This decade is [[ExaggeratedTrope omnipresent]] from fashion, trademarks and pop culture references to discussions on topical issues related to the era.
* EvenEvilHasStandards: Three characters who Bateman does not kill are Evelyn, his fiancee; Jean, his secretary; and Luis, his gay associate, all of whom are in love with him. Notable, as Bateman finds Evelyn incredibly annoying, but never considers murdering her, and he was actually about to kill Luis, until he revealed he was gay and in love with Bateman. Even though Bateman is disgusted by this he still does not kill Luis. Also inverted in the book, where Bateman kills a small boy but doesn't find it evil enough.
* EvidenceDungeon: Patrick Bateman uses both his apartment and appropriates Paul Owen/Allen's apartment[[spoiler: after killing him]] to commit most of his murders. In his apartment, there is a head in the fridge and numerous implements of murder and torture. In Paul Owen/Allen's apartment, there are two bodies hanging on hooks in a closet, another on the bathroom floor and [[RoomFullOfCrazy a room with 'Die Yuppie Scum' scrawled on the walls.]] [[SubvertedTrope Subverted as ]][[spoiler: the ending implies that Bateman may be having psychotic delusions about his murders. As he is an [[UnreliableNarrator incredibly unreliable narrator]], it calls into question everything we've seen and whether the 'evidence' was really there.]]
* ExtraStrengthMasquerade: Bateman ''could'' be caught, but no one cares to catch him.
* GainaxEnding: What will happen to Patrick? Is he really a murderer, or is it all in his head? Impossible to say.
* GirlOnGirlIsHot: Patrick seems to think so. If he's not going to lengths to pay prostitutes and/or drug women just to watch them get it on, he's often seeking it out in pornographic videos. In one instance late in the book, his fascination with the topic of his favorite daytime talk show being "Teenage Lesbians" causes him to miss a business meeting.
* HideTheEvidence: [[OneHourWorkWeek Bateman does so little, if any, productive work at his office]], and when Detective Kimball visits him at work and remarks, "I know how busy you guys can get," Patrick suddenly notices his still-running Walkman on top of a small stack of skin mags on his desk, which he quickly slips into his top drawer.
* HighConcept: "A serial killer on Wall Street". WordOfGod has stated that this premise was arrived at relatively late in the process of writing the novel, and the earlier chapters are more about Bateman's vanity and isolation.
* HookersAndBlow: Part of Patrick's exceptionally decadent lifestyle.
* {{Hypocrite}}:
** Early in the narrative, Bateman publicly puts forth to his peers that it is on themselves to work towards solving social crises, such as providing food and shelter for the homeless, opposing racial discrimination, supporting civil rights and equal rights for women, and return to traditional moral values. However, privately, Bateman is an ardent racist, sexist without ethics who only feels disgust for the poor.
*** In the book, as Bateman lays this all out, he even tries to openly support both sides of divisive social issues, such as stressing a need to "change abortion laws to protect the life of the unborn while also maintaining a woman's right to choose," which is further contradicted later in the book in separate scenes where Bateman forces women to get a abortions [[spoiler: even performing several of them himself against their will.]]
** Patrick shows open disdain for people who smoke cigarettes, while he himself enjoys smoking cigars.
*** In the film, Patrick disallows one of the prostitutes from smoking in his apartment after she takes out a cigarette, but Patrick lights a cigar in the exact same room after murdering Paul Allen.
*** In the book, Patrick loudly complains about being seated next to smokers at a restaurant (hoping the "nicotine addicts" hear him and feel guilty about their habit) when meeting with his ex-girlfriend Bethany. Later, when torturing Bethany back at his apartment, Patrick momentarily pauses to show her a cigar and gloat that he still smokes them.
** Patrick chides his colleagues for making anti-semitic comments about another one of their co-workers and confusing words like "menorah" and "dreidel", but in the book, while suffering some kind of mental breakdown, Patrick wanders into a kosher deli and repeatedly tries to order a cheeseburger and milkshake, failing to understand the waitress when she explains they only sell kosher foods and believing the waitress to be the one who is having a problem. When the manager approaches Patrick, he stands up and shouts anti-semitic slurs and insults before storming out back onto the street.
* IHaveToGoIronMyDog: "I have to return some videotapes." Patrick uses other, more outlandish excuses too; in the book, for example, he once tells to Courtney that "I'm going to... Noj's. I'm buying coke from Noj." She protests that Noj is not a drug dealer but the chef at the Deck Chairs.
** In the movie, Bateman's excuses himself to Detective Kimball by saying that he's got to run to a lunch date with [[Series/TheCosbyShow Cliff Huxtable]]. [[spoiler: As with everything else, this goes completely over Kimball's head.]]
* ImAHumanitarian: In the book, Bateman eats the brain and part of the insides of one of his victims, and later bursts into tears while cooking another... because he thinks he's doing it wrong and can't cook. In the movie, eating people's brains is one of the things Patrick confesses to his lawyer.
* IncompatibleOrientation: Luis Carruthers is in love with Bateman, who is not only straight but a virulent homophobe as well.
* InsistentTerminology:
** Patrick and his peers refer to women who meet their standard of objectified physical beauty as "hardbodies". The terminology is so prevalent, it directly inspired the tune "Hardbody" in the musical adaptation.
** For the first half of the novel, he can never call his secretary 'Jean.' No, it's always 'Jean, my secretary, who is in love with me.'
* IronicHell: Assuming Patrick really is a murderer, he'll likely never be caught. But that doesn't matter, because his life is already punishment enough. He's surrounded by people he hates, but doesn't know how to live away from them; he can't get anyone to stop him, because nobody hears what he says; even killing people isn't any fun, because everyone is so interchangeable that when one of them dies, nobody notices - and what's the point of a murder nobody knows about?
* ItWasHereISwear: Inverted with Bateman's return to the torture chamber he set up in Paul Owen/Allen's apartment, which has inexplicably been repainted from top to bottom, erasing any trace that he was ever there.
* IvyLeagueForEveryone: Bateman says he attended Harvard.
* JapanTakesOverTheWorld: Many references are made to characters enjoying Japanese electronics (Patrick's prized TV set, VCR, stereo system, walkman, and home video cameras, for instance, are all made by Toshiba, Sansui, Panasonic, and Sony--with electronic components from NEC) and food (The opening of the book and musical features Evelyn and Courtney co-hosting a dinner party where guests dine on sushi and sake). Meanwhile, [[HypocriticalHumor everyone voices resentment over growing Japanese influence in American culture]]:
** Luis Carruthers is said to dislike the Japanese because of this. In the chapter "Concert," he admits and explains his hatred:
---> '''Luis Carruthers:''' "They save more than we do and they don't innovate much, but they sure in the fuck know how to take, steal, our innovations, improve on them, then ram them down our fucking throats!"
** Another character says this in the chapter "Christmas Party:"
---> '''Charles Murphy:''' "They've bought the Empire State Building and Nell's. Nell's, can you believe it, Bateman?"
** In the chapter "New Club" and near the end of the film:
---> '''Harold Carnes:''' "The Japanese will own most of this country by the end of the '90s."
* {{Jerkass}}: Every person Patrick surrounds himself with, except Jean, is every bit as shallow, self-centered, and materialistic as he is. His male associates, especially, are frequently sexist, casually racist, or both.
* KarmaHoudini: Patrick actually confesses (earnestly) all the horrible things he's done to his lawyer, and still nothing comes of it. Of course, that's assuming he did do all the things he describes.
* KickTheSonOfABitch: Patrick's very cold dumping of Evelyn was cruel, no doubt about that, but its difficult to imagine anyone wanting to commit to a lifetime of Evelyn's company.
* KillThePoor: Patrick feels nothing but ill will and contempt for the lower classes, as do his friends, although they, unlike Patrick, don't go out and stab them for fun.
* LoveDodecahedron: Patrick Bateman is engaged to wed Evelyn Williams, who is believed to be having an affair with Patrick's best friend, Timothy Price/Bryce. Meanwhile, Patrick is having an affair with Evelyn's best friend, Courtney Rawlinson, who is engaged to Patrick's business associate, Luis Carruthers, [[spoiler: who is also secretly in love with Patrick.]]
* MasterOfDelusion: Most everybody.
* MindScrew: Since he's an UnreliableNarrator, it's very hard to tell just how much of Patrick's actions were real, if any.
* MistakenForGay: Bateman is about to kill his associate, Luis, by strangling him from behind, but Luis mistakes this as Bateman coming onto him, causing him to reveal that he's gay and in love with Bateman.
* MistakenIdentity:Throughout the book and the movie, characters address each other by the wrong name. Bateman himself is called Marcus Halberstam, [=MacLoy=], Davis, Smith and Paul Owen/Allen, among others. Craig [=McDermott=] is addressed as Baxter at one point. This is a part of the social commentary in the story; these yuppies are so self-centered they can't even remember each others' names. Or, more to the point, they all look exactly like one another and engage in the exact same activities to a point where everyone is interchangeable, no one else can tell anybody apart from anybody else, and no one can even realize when one of their own associates and so-called "friends" is murdered...maybe.
* MoonwalkDance:
** In the film, Bateman does this with an axe in hand immediately before killing Paul Allen. Creator/BretEastonEllis, who wrote the source novel, said this was one of the only problems he had with the adaptation, as he felt it was out of character.
** Played up even more in the musical, while Bateman dances in his apartment to "Hip to Be Square" with a drunk and drugged Paul Owen [[spoiler: prior to killing him]].
* TheMovieBuff: Bateman is a very avid fan of horror films and gory B-movies, which he often rents on VHS. He frequently rents ''Body Double'' in the novel, is seen watching ''The Texas Chainsaw Massacre'' in the film, and regularly enjoys ''A Nightmare on Elm Street'' in the musical. In both the novel and musical, Bateman's associates grow tired with him always talking about movie killers like Leatherface from ''Texas Chainsaw Massacre'' (which causes Patrick much annoyance when they also mistakenly call the character "Featherhead"). In the musical, Patrick also makes passing references to ''C.H.U.D.'', mentions watching ''Silent Night, Deadly Night'' prior to attending Evelyn's Christmas party, and he considers Freddy Krueger an "American icon".
* MyCard: Early on, there's a scene where several stockbrokers compare business cards.
* {{Nepotism}}: Bateman's father "practically owns" P&P. See OneHourWorkWeek.
* NiceToTheWaiter: Patrick and his associates are absolutely horrible to waiters and other people who do services for them (dry cleaners, housemaids, etc.).
--> '''Waiter:''' Would you like to hear today's specials?
--> '''Patrick:''' Not if you want to keep your spleen.
* NoEnding: The novel ends with the words "This is not an exit" (on a sign that Patrick reads). The chapters also often end abruptly, and one even ends in mid-sentence. The movie shows a sign with those words above and behind Patrick's head in the last shot. Also [[InvertedTrope inverted]] in the book, as some chapters ''begin'' abruptly.
* NoNameGiven: "Christie's" real name is never revealed.
* NotListeningToMeAreYou: Used repeatedly. Patrick often confesses his sociopathic tendencies to friends and associates. They are either not listening or don't care.
* NotSoDifferent: The way Bateman's murderous sociopathy is juxtaposed with the casual sociopathy of Reagan-era America.
* OneHourWorkWeek: Patrick's job is very high-paying, with a cushy office, but he doesn't seem to ''do'' any actual work there and [[RichIdiotWithNoDayJob has a lot of free time on his hands]]. In the various adaptations of the story, Patrick's time at his office is spent watching TV, listening to music on his walkman, doing crossword puzzles, lifting weights, and any number of other unrelated activities. Famously, when Patrick and all his associates attend a business meeting, the time is spent showing off their business cards, and later, when Patrick attempts to ''look'' busy when visited by Detective Kimball, all Patrick can think to do is pick up his phone receiver and ramble on about men's fashion and proper tipping etiquette, rather than pretend to actually be in the middle of business. When his secretary looks through his day planner, it's almost empty save for lunch dates (plus doodles in the film). It's mentioned both in the book and the film that [[{{Nepotism}} it's his dad's company]]. In his review of the film, Creator/RogerEbert mused that Patrick's spree might have been averted if he'd been put to work hitting nails with a hammer, which is about the only task he's qualified for.
* PoliticallyIncorrectVillain: Apart from being a sadistic {{serial killer}}, Patrick is also racist, antisemitic, misogynistic, elitist and homophobic (though so are most of his associates, except the serial killer part).
* PopularIsDumb: Bateman's associates are highly powerful and successful people who are oblivious to current events or even basic scientific knowledge.
* PyrrhicVillainy: By the end of the book, it's clear that [[spoiler: all of Patrick's evil and depravity have afforded him nothing. He's still as lonely and miserable and empty as he was at the beginning, and no one gives a shit about him.]]
* PluckyOfficeGirl: Jean.
* PrettyInMink: Evelyn wears a lynx coat.
* QualityByPopularVote: InUniverse. Patrick and his yuppie friends' appreciation of music, art, and culture is so far driven by popularity and mainstream appeal that the early, more radical, avant-garde work made by their favorite artists before they became commercialized is generally discarded for not fitting with their norms:
** Most significantly, Patrick dismisses the early progressive rock albums by Music/{{Genesis}} as "too artsy, too intellectual," and he couldn't begin to appreciate their music until after Phil Collins became a greater presence and took the band in a different direction, and Music/HueyLewisAndTheNews was "too new wave" for Patrick's liking until the release of their third album, ''Sports'', found greater commercial appeal.
** In the book and musical, one of the last things Paul Owen says in a drunken stupor before Patrick murders him with an axe is, "...I used to hate Iggy Pop, but now that he's so commercial I like him a lot better..."
* RunningGag:
** [[IHaveToGoIronMyDog "I have to return some videotapes."]]
** Bateman can never get that reservation at Dorsia.
* SarcasticConfession: Bateman confesses his murders openly to a lot of people, but nobody takes him seriously. Sometimes, his confessions aren't really sarcastic; he actually wants people to believe him, but they never do. More to the point, all the Stepford Yuppies he reveals himself to are too self-involved to hear him correctly. They aren't even hearing or caring enough to not take him seriously. When he declares himself to work in "murders and executions", the conversation goes on about mergers and acquisitions. And when he tries to break up with Evelyn over lunch, his declaration that his need to commit murder on a massive scale was out of control zings right through her hair. Of course, as noted, it's possible that [[UnreliableNarrator this might not all be real]].
* {{Satire}}
** Both the book and the film satirize 1980s consumerism, greed and materialism:
*** Bateman gives lengthy [[DescriptionPorn descriptions]] about meals, clothes and gadgets. In the book, to add more humor and make the satire more pointy, some of these costumes would actually look clownish and some foods would in fact be inedible in real life.
*** In the book, Bateman's descriptions sound like commercials, with emphasis on positive traits of the products, such as clothes, gadgets and music albums.
*** Not only does Bateman consume products, he also consumes people by using, raping, killing, and in the book even eating them, and finally disposes of what's left of them.
*** The name of Pierce & Pierce, the company Bateman works for, alludes to the aggressiveness and greed of the era as well as Bateman's life as a serial killer (and human consumer).
*** The [[ReferenceOverdosed omnipresence of brands]] and Bateman's over-the-top obsession with them.
*** In the book, the character descriptions are mostly about their clothes and accessories - not their personalities.
*** The competition between Bateman and his associates is taken to the extreme: Who has the best business card (To make this funnier, the cards look almost exactly the same in the film.)? Who can get a reservation at Dorsia?
*** The first half of the chapter "Rat" is written like a shopping list which has ridiculously detailed descriptions of the items.
** The book and the film also make fun of people who try hard to fit in. This was arguably common in the 1980s yuppie subculture.
*** Characters look the same (probably because they all follow trends and try to get the best clothes, haircuts, etc.) in such extent they often confuse each other, most notably Paul Owen/Allen always mistakes Patrick Bateman for Marcus Halberstam/Halberstram.
*** While trying to fit in, Bateman also wants to retain his uniqueness, and to reach this goal, he even tries to confess the murders he committed. This doesn't work, as hinted by [[spoiler: the "This is not an exit" sign in the film and the book and his final monologue and the close-up of his face showing his acceptance of his own fate in the end of the film]].
*** Bateman's masks and ice packs he wears in mornings reflect putting on a mask and giving up on one's own personality when trying to fit in. This is also symbolized by the masked-looking yuppie on the cover of the book and Bateman thinking there's no real him, only an idea.
*** In some scenes where Bateman doesn't act conformist, "Hip to be Square" is ironically referred to or played (buying cereal with an obsolete coupon in the book, killing Paul Allen in the film).
** Narcissism is also satirized.
*** Bateman is obsessed with his appearance, which is shown in the book as over-the-top costume, morning-routine and exercise descriptions and in the film as Bateman exercising obsessively and making hilarious faces and funny poses in front of mirrors.
*** Characters don't pay much attention to discussions, and when they do, they - especially Bateman - try to direct the conversations to be about themselves. Not listening to other people is taken to such extremes that no-one really cares even when Bateman talks about doing murders and executions (They mishear him, don't take him seriously, don't hear him at all or simply ignore him.).
** Even the title of the book and the film can be seen as a TakeThat to greed, narcissism, materialism, hedonism, and consumerism of TheEighties: in this interpretation, the "American" refers to the American society of the era and the "Psycho" to (exaggerated) behavior of people in it.
* SawStarWarsTwentySevenTimes:
** In the novel, Patrick mentions that he has rented ''Film/BodyDouble'' 37 times. One chapter follows his train of thought at a video rental store as he picks the movie out "as if he'd been programmed." He also pretends to ignore "the horrified reaction" of a store employee who recognizes Bateman upon being handed the movie box when renting it out for what would be the 38th time. He sometimes likes to describe some of the film's more violent moments to both the reader and other characters throughout the story. "The power drill scene" is Patrick's favorite part.
** In the musical's opening, this is pointed out by a clerk when Patrick rents ''Film/ANightmareOnElmStreet1984'' at his video store:
-->'''Video Store Clerk:''' You've rented this movie 37 times.
-->'''Patrick:''' ''[slowly leaning in]'' And I find something new ''every... single... time.''
* SerialKiller:
** Patrick Bateman.
** Some details in the book suggest a possibility that there may be one or more ''other'' serial killers on the loose and acting independently of--but very similar to--Bateman. In the first chapter, for instance, Patrick details a story in a day's newspaper about the disappearances of two people aboard a yacht belonging to a New York socialite who are believed to have been attacked with a machete and dumped off the boat; Patrick seems to have nothing to do with this. Later, Detective Kimball makes explicit reference to "a young stockbroker" in New Jersey who had been arrested and charged with murder and using corpses in "performing voodoo rituals".
** Patrick is obsessed with real serial killers like Ted Bundy or Ed Gein, to the point that his friends complain that he always brings them up in conversations.
* SeriousBusiness: Things that most people would find irrelevant or trivial are blown out of proportion all over; for example, Paul Owen/Allen is murdered over a business deal that nobody even knows the details of (as well as for having a better business card than Bateman's and for being able to get a reservation at a popular restaurant).
* SexySecretary: Jean, who constantly tries to get Patrick's attention. Patrick notes in the book that the clothes she wears are "improbably expensive and completely inappropriate".
* ShaggyDogStory: "There has been no reason for me to tell you any of this. This confession has meant nothing..."
* ShoutOut:
** The book and the movie end with Bateman reading a sign that says "This is not an Exit", also the closing number in the musical--a reference to ''Theatre/NoExit''.
** All interpretations of the work include references to the Broadway production of ''Theatre/LesMiserables''. Significantly, Patrick's secretary, Jean, being the most "normal" and moral of all the story's characters, shares her name with Jean Valjean, the redeeming moral protagonist of ''Les Mis''. However, the play itself is repeatedly referenced to establish it as yet another popular commercial product and extension of the consumerist and self-centered lifestyle to which Patrick adheres, irrespective of the work's intended artistic message (which paints a contrast with the wealth and immorality exhibited by Patrick and his peers). Other, more direct, references to the musical include:
*** In the opening chapter of the book, Patrick spots a poster for the musical at a bus stop with the word "DYKE" scrawled across Cossette's[[note]]Who Patrick repeatedly mistakes for Eponine throughout his narration[[/note]] face. In a later chapter, when Patrick collapses out of nausea, he ends up leaning against the same poster.
*** At different restaurants, and during separate dinner conversations, Patrick keeps hearing the production soundtrack, which repeatedly sparks discussions over whether it's the "American or British" cast recording.
*** In the film, the poster for the musical hangs in Bateman's bathroom, above his toilet.
*** In the musical, Bateman tells Jean he has plans to see a popular musical "with a homeless girl on the poster", which Jean points out he means ''Les Mis''. Patrick and Evelyn later attend the musical together but can't be bothered to pay attention to anything going on in the play or its themes. Their only interest is that it's popular. Jean attends the same performance by herself, and is the only one among the three of them to be paying attention to it.
** In the early chapter "Morning Routine" and the opening of the musical, Patrick describes his suit for the day as "an eighties drape from Alan Flusser". The same suits were worn by Michael Douglas's character, Gordon Gecko, in ''Film/WallStreet''.
* SlashersPreferBlondes: So do Patrick's presumably non-murderous friends.
* SlippingAMickey: In a few instances, Patrick spikes his victims' drinks to make it easier for him to have his way with people.
** He drops tabs of Ecstasy (unnamed in the movie) in a wine bottle to help convince Elizabeth and prostitute Christie to have sex with each other.
** In the musical, when Patrick brings a drunk Paul Owen back to his apartment, after Paul mentions he's feeling mellow, Patrick flatly tells him that's because he slipped a date rape drug in his drink.
* TheyLookJustLikeEveryoneElse: While Patrick is superficial and phony, no one notices how facile his persona is. Even his obsessive grooming habits go unnoticed, since he blends right in with the rest of the self-absorbed yuppie crowd. In fact, Patrick is constantly mistaken for other people in his circle.
* ThreeWaySex: Patrick does it with call girls several times.
* ThroughTheEyesOfMadness: One possible and very likely interpretation of the book and movie. See UnreliableNarrator below.
* TooDumbToLive: Nobody seems to realize how dangerous Patrick really is, even when he blatantly confesses his sociopathy.
* TortureCellar
* TorturePorn: In-universe example, Patrick is particularly fond of these sorts of movies.
* UncomfortableElevatorMoment: The book and musical feature Bateman getting in an elevator with Creator/TomCruise and attempting to make small talk with him. The conversation is extremely awkward. This is based on a real event: Ellis lived in the same apartment building as Tom Cruise for some time. It's HilariousInHindsight (or possibly FridgeHorror) when you consider that Christian Bale [[http://www.huffingtonpost.com/2009/10/22/christian-bales-american_n_329874.html used Tom Cruise as inspiration for his portrayal of Bateman.]]
* UnreliableNarrator: Patrick Bateman is clearly insane and has bizarre hallucinations (i.e. a Cheerio interviewed on a talk show, himself stalked by a park bench in the book; an ATM machine ordering him, "FEED ME A STRAY CAT" in both book and film) which he believes to be true. It's also ambiguous whether he committed the brutal (and, occasionally, ''preposterous'') murders that occur. Right at the end, another character insists that Paul Owen/Allen is alive.
* UpperClassTwit: Everyone in Bateman's social circle.
* VillainProtagonist: With a capital V.
* WateringDown: Tim Price/Bryce (Patrick in the musical) complains about how the cocaine they've been sold is "a fucking milligram of... ''Nutrasweet''." (Brand name omitted in the movie.)
* WhamLine: Two instances:
--> '''Real estate agent:''' There was no ad in the ''Times''. I think you should go now.
** Then a little later...
--> '''Carnes:'''...I had dinner with Paul Owen/Allen... twice... in London... just ten days ago.
[[/folder]]

[[folder: Tropes Also Present in the Book]]
* AllAsiansLookAlike: While on his way to Evelyn's Christmas Eve party, after one of Bateman's associates alarms him of [[JapanTakesOverTheWorld the growing influence of Japan and Japanese business in New York City and America]], Bateman feels compelled to murder the first Japanese bike messenger he sees and dump the hot food his victim was delivering on top of his body, only to discover in doing so that his victim was actually carrying Chinese food. Realizing he had made a "mistake" in "killing the wrong type of Asian," Bateman then attempts to "amend" the situation by leaving a threatening note [[PekingDuckChristmas for the Jewish family that the food was being delivered to]] before halfheartedly telling his victim, "Uh, sorry."
* AnachronicOrder: For much of the book, scenes alternate between early summer and right around Christmas. The lack of chronological order is almost easy to miss, and has almost no effect on the book's narrative structure, since the book has no real narrative.
* ArsonMurderAndJaywalking:
** At the beginning, Tim Price (one of Bateman's associates) reads a newspaper: "In one issue... in one issue... let's see here... strangled models, babies thrown from tenement rooftops, kids killed in the subway, a Communist rally, Mafia boss wiped out, Nazis, baseball players with AIDS, more Mafia shit, gridlock, the homeless, various maniacs, faggots dropping like flies in the streets, surrogate mothers, the cancellation of a soap opera..."
** In one chapter, after murdering a dog and its owner in a typically gruesome fashion, Patrick goes to the supermarket and gets a rush out of [[PokeThePoodle buying a bran muffin with an expired coupon]].
* BloodIsTheNewBlack
* BookEnds: The story begins with Bateman reading graffiti sprayed in red. The story ends with him reading a bar sign in red flanked by red curtains. As well as allusions to Hell: the book begins with a quote from [[Literature/TheDivineComedy Dante's Inferno]] and the quote in the summary, "This is not an exit," is probably a reference to Sartre's play ''Theatre/NoExit''.
* BreadEggsMilkSquick: Patrick, several times. It always goes unnoticed, by characters and, possibly, the reader.
** "I sprinted over to Sixth Avenue, decided to be late for the office and took a cab back to my apartment where I put on a new suit (by Cerruti 1881), gave myself a pedicure and tortured to death a small dog I had bought earlier this week in a pet store on Lexington."
** "My priorities before Christmas include the following: (1) to get an eight o'clock reservation on a Friday night at Dorsia with Courtney, (2) to get myself invited to the Trump Christmas party aboard their yacht, (3) to find out as much as humanly possible about Paul Owen's mysterious Fisher account, (4) to saw a hardbody's head off and [[FingerInTheMail Federal Express it to Robin Barker]] - the dumb bastard - over at Salomon Brothers and (5) to apologize to Evelyn without making it look like an apology."
* BreakingTheFourthWall: Bateman once thinks, "By the time you finish reading this sentence, a Boeing jetliner will take off or land somewhere in the world."
* BuxomIsBetter: Patrick certainly thinks that; every time he finds a woman attractive, he mentions that she has "big tits". When his favorite talk show features a woman who had breast reduction surgery, he calls one of his associates (who is also watching), and they spend the rest of the segment with ridiculing her.
* TheCameo: Patrick meets his brother Sean, who was one of the three main characters in Bret Easton Ellis's previous novel, ''Literature/TheRulesOfAttraction'', for dinner in one chapter. They do not get along well with each other.
* CannotTellFictionFromReality: In keeping with Patrick Bateman being an UnreliableNarrator, numerous instances are described by Bateman as if they were something happening in a movie. For example, he occasionally may describe a momentary action, such as before he commits violence, as occurring in "slow motion". In the middle of murders, he sometimes refers to the demeaning things he tells his victims as "lines" which he speaks. The climatic police chase near the end of the book plays out like an over-the-top 1980's action movie, which momentarily switches to a third-person perspective and which Patrick remembers as "the chase scene" in a later chapter.
* CatchPhrase: Sean Bateman's "Rock 'n' roll. Deal with it.", which also is a ShoutOut to Bret Easton Ellis's previous novel, ''Literature/TheRulesOfAttraction''. His brother Patrick makes it clear he's too familiar with the phrase ("I know, I know, rock 'n' roll, deal with it, right?"), although [[spoiler: he misquotes it in the end of the book ("Rocking and a rolling.")]].
* CharacterFilibuster: There are entire chapters where Patrick stops telling the story altogether, in order to launch into long essay-like rants about pop singers he likes, such as Phil Collins and Whitney Houston. His interminably long word diarrhea about banal pop acts like Huey Lewis and the News demonstrate how shallow a person he is.
* ContinuityNod: Taking place in the same universe as most of Bret Easton Ellis's novels, there are subtle references to events and characters from other books. Most humorously, Patrick, when buying a tie for his brother Sean, pleases himself my imagining Sean attempting to hang himself with it. Sean actually does try to hang himself using a tie from Patrick in Ellis's earlier novel, ''Literature/TheRulesOfAttraction''. Patrick also notes that Sean, who was occasionally described as having a unibrow in the previous book, must be plucking his eyebrows, seeing that "he no longer has only one".
* CoolHouse: Timothy Price has a place out in the Hamptons.
* CostumePorn: Bateman frequently discusses what he and his colleagues/friends are wearing, and their brand names. The author, Bret Easton Ellis, actually subverted this, albeit very covertly. Apparently he knew that the readers of the book would almost certainly be unable to accurately picture the outfits that Patrick describes and would assume the men just look like GQ models and the women look like celebrities doing publicity but in fact the clothes they were described as wearing would actually look "clownish" in real life.
* CouldntFindAPen: Bateman uses blood of two prostitutes to write the words "I AM BACK" and draw a picture on a wall in Paul Owen's apartment.
* DecoyProtagonist: It's only for a very short time, but if you'd read only the first few pages of the novel, you'd think the protagonist is Tim Price.
* DescriptionPorn: Patrick describes everything, from [[SceneryPorn his surroundings]] and [[CostumePorn what everyone wears]] or [[FoodPorn eats]] to [[{{Gorn}} the murders he commits]] and his morning and exercise routines in very high detail.
* DudeNotFunny: An in-universe example. Patrick pretends to be offended by a racist joke one of his associates tells, [[{{Hypocrite}} though he's actually a virulent racist]].
* EveryoneHatesMimes: Patrick, while looking for someone to kill, passes a street juggler and mentions that if he had been a mime, he would already have been dead.
* FanHater: In-story example. Patrick mentions that no one should feel sympathy for Jeanette whom he's forcing into getting an abortion due to the fact that her favorite movie is ''Film/PrettyInPink'' and "she thinks [[Music/ThePolice Sting]] is cool."[[invoked]]
* FingerInTheMail: When Patrick Bateman is listing his priorities before Christmas, one of them is "saw a hardbody's head off and Federal Express it to Robin Barker - the dumb bastard - over at Salomon Brothers". Later, he mentions that he almost got caught at a Federal Express "trying to send the mother of one of the girls I killed last week what might be a dried-up, brown heart."
* {{Flashback}}: [[spoiler: When Bateman is eating with Bethany, he reminisces an event where he killed a female student when he still was in the university.]]
* FoodPorn: As with the CostumePorn, subverted: the food ranges from bizarre (peanut butter soup) to inedible (brioche with maple syrup and ''cotton''), and the plating is wacky enough to kill Patrick's appetite.
* ForHalloweenIAmGoingAsMyself: Patrick goes to a Halloween party dressed as a mass murderer, complete with real human blood on his suit. He comes in 2nd in the party's costume contest, which really upsets him.
* GoMadFromTheIsolation: Ellis has stated that long before he came up with the "serial killer on Wall Street" concept, the novel was inspired by his own sense of isolation, disaffection and loneliness while living in New York in the 1980s. A significant theme of the novel is how it is partly Bateman's isolation from other people that drives him to insanity.
* {{Gorn}}: Just like clothes, food, sex, and everything else that's important in Patrick's life, violence and bloodshed is described in lengthy (and, occasionally, ''absurd'') detail. The horrific violence was the subject of much debate when the novel was published.
%% Mod Note: Do not describe the Gorn in detail. It is a violation of wiki rules.
* GunPorn: Patrick sometimes describes weapons he has or likes in detail, for example in the chapter named "Taking an Uzi to the Gym".
* HarassingPhoneCall: Patrick makes a bunch of obscene phone calls to women to amuse himself:
-->"I'm a corporate raider," I whispered lasciviously into the cordless phone. "I orchestrate hostile takeovers. What do you think of that?" and I would pause before making sucking noises, freakish piglike grunts, and then ask, "Huh, bitch?"
* HypocriticalHumor:
** At one point Patrick and several of his guy friends are appalled that their dates only seem to be able to meaningfully converse about clothes.
** And then there's this little gem (context for their misunderstanding [[http://backspace.com/notes/2003/04/silence-death.php here]]):
-->"What are all these T-shirts I've been seeing?" she asks. "All over the city? Have you seen them? Silkience Equals Death? Are people having problems with their conditioners or something? Am I missing something? What were we talking about?"
-->"No, that's absolutely wrong. It's ''Science'' Equals Death." I sigh, close my eyes. "Jesus, Evelyn. Only you could confuse ''that'' and a hair product."
** And:
-->If she likes me only for my muscles, the heft of my cock, then she's a shallow bitch. ''But'' a physically superior, near-perfect-looking shallow bitch, and ''that'' can override anything, except maybe bad breath or yellow teeth, either of which is a real deal-breaker.
* ICallHimMisterHappy: When a private investigator asks Patrick about Paul Owen, Patrick thinks to himself: "How could I describe Paul Owen to this guy? Boasting, arrogant, cheerful dickhead who constantly weaseled his way out of checks at Nell's? That I'm heir to the unfortunate information that his penis had a name and that name was ''Michael''?"
* LameComeback: When someone calls Patrick a "fucking yuppie", all he can come up with is: "Hey... You may think I'm a really disgusting yuppie but I'm not, ''really''."
* MadnessMantra: [=McDermott=]'s "red snapper pizza". Bateman [[LampshadeHanging lampshades]] this by thinking "[=McDermott=] has found a mantra for the evening."
* MinorFlawMajorBreakup: A variant - at one point in the novel Bateman and several of his colleagues are sitting in a restaurant checking out a hot girl at another table. Tim Price uninterestedly points out that one of her knees is bigger than the other. All three of them notice this and promptly lose all interest in her.
* MultipleNarrativeModes: Some chapters are told in third-person perspective, as opposed to the first-person narrative of the rest of the novel.
* PetTheDog: Patrick almost has a moment like this, but then it's ruined. At one point, he notices a pretty homeless girl sitting on the steps of a building with a coffee cup. As he states, his nastiness vanishes, and he honestly wants to do something kind, so he drops a dollar into the cup. Then he realizes that the girl wasn't homeless but a college student, and the cup was full of coffee.
* {{Pun}}: Patrick has filled a crossword puzzle with words "meat" and "bone". He then asks Jean, his secretary who is in love with him, out for dinner while erasing one of the M's.
* ReferenceOverdosed: Bateman makes references to brands, trademarks, products and pop culture almost all the time. Justified because he's very shallow and materialistic.
* RuleOfThree: The three chapters in which Bateman describes an 80s pop act in minute detail. Emphasized by WordOfGod: in an interview Ellis mentioned that the novel's editor wanted to cut out two of these chapters, as he was of the opinion that they'd lose their impact through repetition. Ellis countered that the fact that the motif is repeated is what makes them work: one such chapter sounds merely like the writings of a slightly obsessive fan, but ''three'' sounds downright psychotic.
* RunningGag
** Patrick's obsession with "The Patty Winters Show" and the bizarre subjects of the episodes he watches.
** The frequent (often unimportant) detail he gives of clothes, decor, and food also becomes a gag in and of itself as it seems to manifest out of a compulsive desire to do so; for instance, after describing the "dumpy girl" behind the counter at his video store and her non-designer clothes from the waist up, Patrick starts to have a panic attack as he realizes he has not seen what shoes she is wearing.
** When Patrick doesn't want to answer a phone call, he imitates an answering machine unsuccessfully.
** When passing poor people asking for money, Bateman and his friends pretend they're giving them dollars and pull out their hands at the last moment.
** Timothy Price's friends sometimes say "Price [...] You're priceless."
* SanitySlippage: As the book goes on, Patrick's descriptions of the mundane parts of his life become peppered with increasingly bizarre details.
* SceneryPorn: Although they manifest themselves as dryly written WallsOfText, Patrick's descriptions of his lavish surroundings, including everything from the furniture in his apartment to the clothing of every character counts as this, to a point. {{Deconstructed|Trope}}, in that rather than being appealing to the reader, the lengthy, detailed descriptions make both Patrick and the world that surrounds him seem shallow and materialistic.
* SelfDeprecation:
-->"Oh god," Timothy moans. "I am so sick of hearing ''Camden''-girl problems. [[Literature/TheRulesOfAttraction Oh my boyfriend, I love him but he loves someone else and oh how I]] ''[[Literature/TheRulesOfAttraction longed]]'' [[Literature/TheRulesOfAttraction for him and he ignored me and blahblah blahblahblah]]--god, how ''bor''ing. ..."
* ShowWithinAShow: Frequent references are made to a daytime talk show called ''The Patty Winters Show''. Patrick often brings up the show's topic of the day which ranges from more straight-forward things, such as "Autism" or "Salad Bars," to more bizarre subjects, like a new sport called "Dwarf Tossing," "a boy who fell in love with a box of soap," and "[=UFOs=] That Kill." Later interviewees, such as [[BigfootSasquatchAndYeti Bigfoot]], whom Patrick found to "surprisingly articulate and charming" and a Cheerio again makes us question Patrick's sanity.
* ShoutOut:
** Bateman recalls the abuse and rape of a woman named Alison Poole, who is a character from fellow Brat-Packer Creator/{{Jay McInerney}}'s novel ''Story of My Life''.
** At one point, Patrick is watching an interview on ''The Patty Winters Show'' with a woman who has multiple personalities. The personality currently talking refers to itself as "Lambchop", which is one of the personalities in the 1987 book ''Literature/WhenRabbitHowls''.
* SnuffFilm: Patrick sometimes films himself torturing women to death. He once shows one of these videos to a woman before killing her.
* SocietyMarchesOn: Once upon a time, children, restaurants in New York had smoking and non-smoking sections...
* StrawNihilist: Patrick believes that ultimately, everything is meaningless. "everything I have been taught: principles, distinctions, choices, morals, compromises, knowledge, unity, prayer - all of it was wrong, without any final purpose. All it came down to was: die or adapt."
* SnuffFilm: InUniverse. Patrick films some of the violence he commits inside his and Paul Owen's apartment on a home video camera. In one instance, he shows some of his personal recordings to a woman before killing her.
* TakeThat:
-->Earlier in the night after dropping Jeanette off I stopped at M.K. for a fund-raiser that had something to do with UsefulNotes/DanQuayle, who [[EveryoneHasStandards even]] ''[[EveryoneHasStandards I]]'' don't like.
* TechnologyPorn: Bateman and his friends' detailed descriptions of the latest gadgets of the 1980s.
* ThoseWackyNazis: The topic of one episode of ''The Patty Winters Show'' is Nazis, which Patrick says he "got a real charge out of." One of the Nazi guests is described by as having juggled grapefruits "in a rare display of humor." Patrick, delighted by this, "sat up in bed and clapped."
* ToiletHumor: At one point Patrick tricks Evelyn into eating part of a chocolate-sauce-covered urinal cake by passing it off as a fancy treat from Godiva.
* TookALevelInBadass: Bateman thinks about his history as a killer:
--> My rages at Harvard were less violent than the ones now.
* TotallyRadical: In a club, after doing coke in the bathroom, Patrick comes out to see that quite a few young punks have come in, and a few black people. He attempts to convince them that he's "hip" and not just some boring yuppie. HilarityEnsues.
-->I stick out my hand at a crooked angle, trying to mimic a rapper. "Hey," I say. "I'm fresh. The freshest, y'know-- like, uh, def-- the deffest." I take a sip of champagne. "You know-- def."\\
To prove this I spot a black guy with dreadlocks and I walk up to him and exclaim "Rasta Man!" and hold out my hand, anticipating a high-five.
* TrademarkFavoriteFood: Bateman orders several dozen scotches, always J&B, through the course of the book.
* {{Understatement}}: When Bateman calls his lawyer and confesses his murders to the lawyer's answering machine, he concludes it with:
-->"Uh, I'm a pretty sick guy".
* WallOfText: Whilst such excessive description in a novel is normally unnecessary and undesirable, the fact that the novel is from Bateman's perspective [[FridgeLogic actually serves to exaggerate his consumerist nature and his obsession over minimal, insignificant details.]]
* WouldHurtAChild: Patrick stabs a small boy to death just to see if he'd enjoy it. He doesn't... because he doesn't find it ''evil enough'':
-->How useless, how extraordinarily painless, it is to take a child's life... It's so much worse (and more pleasurable) taking the life of someone who has hit his or her prime, who has the beginnings of a full history, a spouse, a network of friends, a career, whose death will upset far more people whose capacity for grief is limitless than a child's would, perhaps ruin many more lives than just the meaningless, puny death of this boy.
:: Although, there is a sense of {{Irony}} in how Patrick rationalizes these feelings, because nobody around him ever does notice or mourn the deaths of his other victims, anyway.
* YouAreWhatYouHate: Bateman despises his friends because they represent parts of himself that he hates and remind him of what he doesn't have.
* YoungestChildWins: Sean, Patrick's younger brother and only sibling, surpasses his brother at least in getting reservations in upscale restaurants or clubs. He also seems more sane than his older brother.
[[/folder]]

[[folder: Tropes Also Present in the Film]]
* AdaptationNameChange: Paul Owen, Timothy Price and Marcus Halberstam in the novel become Paul Allen, Timothy Bryce and Marcus Halberstram in the film.
* AllThereInTheManual: As part of an advertising campaign for the film, there were several e-mails written from Patrick Bateman to his therapist. These emails depict several events after the film/book, acting as a sequel (such as Patrick being married, then divorcing Jean). These were written by one of the film's writers and approved by Ellis.
* AsceticAesthetic: Patrick's stark white apartment. The production notes asked for the surfaces in Bateman's kitchen to be covered in stainless steel, like a morgue.
* BlackDudeDiesFirst: Patrick Bateman's first on-screen victim in the film is a homeless black man.
* BloodyHorror: Patrick Bateman kills an annoying coworker which results in his face being covered in blood. Then he takes off his raincoat that was keeping his suit clean, sits down at the desk facing the coworker's corpse, and smokes a cigar.
* BondOneLiner: "Try getting a reservation at Dorsia now, you fucking stupid bastard! You, fucking bastard!"
* BreakTheCutie: Jean, who seems to have a crush on Patrick, is subjected to his cold personality and a sour date. [[spoiler: In the end of the film, she also finds his journal depicting murder and rape of women.]]
* CallBack: Patrick shows Paul Allen ''Fore!'' and asks him if he likes Huey Lewis and the News. After Allen has said "They're okay." Patrick rambles about the band like a fan. Later, while interviewing Patrick about Allen, Detective Kimball shows Patrick a copy of the album and asks if he has heard it. Patrick says no and adds Huey's too "black-sounding" for him.
* ConversationCasualty: Patrick Bateman certainly ''contemplates'' taking a nail gun to the head of a lady he's chatting up.
* CostumePorn: Played straight, unlike the novel.
* DiegeticSwitch: Inverted in the scene which begins as an exterior view of Patrick's workplace and then cuts to interior. During this time, the song played ("Walking on Sunshine" by Katrina and the Waves) is BackgroundMusic. However, When Patrick is shown walking on a hallway, it is revealed he's listening to the song on his Walkman.
* DistractedByMyOwnSexy: During the porn film he's making with two prostitutes, Patrick Bateman spends more time looking at himself in a mirror, flexing his biceps.
* EnvironmentalSymbolism:
** In the film, the door to Paul Allen's apartment (where Bateman accumulates most of his kills) is lettered "B".
** Bateman's kitchen is largely made of gray steel, making it resemble a morgue.
* FanDisservice: When Bateman is running around with nothing but shoes and socks on... [[ChainsawGood and a chainsaw]] intended for another murder. Also the sex scenes really aren't that sexy, and very intentionally so. (The scene with the streetwalker and the call girl should be sexy, since all three actors are very attractive, but Bateman's overwhelming egoism and gross instructions to the girls make it most unsexy indeed.)
* {{Fanservice}}: Christian Bale + ShowerScene = [[EatingTheEyeCandy Most of the women on the set showing up to watch them film that one scene]].
* {{Foreshadowing}}: Bateman watches a porn film featuring a threesome and ends up doing that later. He also watches a ''[[Franchise/TheTexasChainsawMassacre The Texas Chainsaw Massacre]]'' film and then kills a woman with a chainsaw.
* FullFrontalAssault: With a {{chainsaw|Good}}.
* GoryDiscretionShot: One scene ends with a vapid model accompanying Bateman back to his home. Her apparent murder takes place offscreen, but in the next scene Bateman is quietly passing the time in his office, clutching a piece of hair which he apparently pulled from the model's head.
* LighterAndSofter: The film is much, ''much'' tamer than the book, featuring only [[GoryDiscretionShot Gory Discretion Shots]] instead of the chapter-long, extreme {{Squick}}-inducing graphic descriptions of what Bateman does to his victims.
* MoodWhiplash: Done quite brilliantly-- the film opens with an extremely dark monologue by Patrick describing his sociopathic tendencies, only for the scene to switch to the sounds of "Walking On Sunshine".
* MrFanservice: The entire cast. Intentional to highlight their vanity and the complete lack of identity among them.
* MythologyGag:
** Many of the pictures in [[spoiler: Patrick's journal]] are illustrations of murders from the book that were cut.
** He also mentions some victims that are only present in the book during his confession scene.
* NoodleImplements: Bateman's drawer full of "sex toys" which he uses on the prostitutes. This is one of those times when you really ''don't'' want to picture how they're used. There's a hole puncher, for one. What did he ''do'' with that? The fact that Christie says she had to go to the emergency room and might need surgery gives you some clue.
* NotInTheFace: At one point in the film, Patrick Bateman chases a hooker through an apartment and tries to eat her leg. She kicks him in the face and, being a self-absorbed yuppie, he screams at her, "Not the ''face''! Not the fucking face, you piece of bitch trash graagh (''unintelligible'')!"
* OverlyNervousFlopSweat: Patrick does this a lot when under pressure or when coming close to getting caught in a lie. According to WordOfGod, Christian Bale was so talented an actor that when doing repeated takes of the famous business card scene, he was capable of sweating on cue.
* PragmaticAdaptation: If you watch the film without reading the book, it's obvious that a lot of the content has been excised without detriment to the narrative. The horrible {{Gorn}} is reduced to quick cuts and off-screen violence (especially the nigh-unfilmable rat scene, which is removed altogether - thankfully). Bateman's interminable lectures about boring '80s pop music is rendered on-screen as him babbling to guests at his apartment, and moreover serve as a hint to the audience since he always recounts them just before killing someone.
* PreMortemOneLiner: "Hey Paul!"
* RoomFullOfCrazy: In the film, the goriest room in Bateman's lair is decorated with the words "DIE YUPPIE SCUM" on the wall.
* SignificantSketchbook: [[spoiler:At the end of the film, Patrick Bateman's secretary finds his planner, which is filled with horrifying sketches of women being tortured, maimed and dismembered.]]
* SleepMask: The ever-posh Courtney Rawlinson is seen wearing one in the movie.
* SoundtrackDissonance
* SourceMusic:
** In some scenes, the music comes from a CD player after Bateman has turned it on.
** When Bateman listens to his Walkman, the music is played like he hears it: it comes in stereo when he has both headphones on, only through one channel when he has only one on (e.g. right channel when he only wears a headphone only on his right ear), and no music is played when his headphones are off.
* StabTheSalad:
** During Bateman's last killing spree, he seems certain to pull a gun on the security guard in his office -- but whips out a pen instead.
** The opening credits have what seems to be blood dripping all over, but then is turns out to be some sort of red sauce being drizzled on a plate.
* TheUnsmile: Bale's used car salesman grin becomes even more comical when he's agitated.
[[/folder]]

[[folder: Tropes Also Present in the Musical]]
* AdaptationalNameChange: Prostitute "Christie" becomes "Christine".
* BreakingTheFourthWall: Inverted. Paul Owen enters the play from the audience, handing out his business card to people on his way down the aisle, before joining the other characters on on stage.
* BSODSong: The closing tune "This is Not An Exit".
* CannotTellFictionFromReality: In reading off on a litany of headlines and stories in a day's newspaper about murders, communists, nazis, AIDS, etc., Patrick Bateman mentions [[Film/{{CHUD}} "Cannibalistic Humanoid Underground Dwellers"]].
* CompositeCharacter: Several different side-characters with standalone scenes in the novel and/or film are combined, giving these characters more concise arcs.
** Detective Kimball is merged with Patrick's lawyer from the book and film, [[spoiler: to whom Patrick originally confesses his crimes at the end and does not believe him]].
** Patrick's neighbor who bumps into him while at the dry cleaners later meets the same fate as Patrick's ex-girlfriend Bethany from the novel, [[spoiler: whom he murders with a nailgun, after she notices his David Onica painting is hung upside-down]].
** Several of Timothy [=Price's/Bryce's=] most outlandish outbursts and actions from the book and film are given to Bateman.
* IAmSong: "Not a Common Man" ("I'm not a common man"), sung during Bateman's night with call girls Christine and Sabrina, and "I Am Back", after Bateman returns from a tranquil vacation in the Hamptons to continue in his madness.
* LastSupperSteal: Patrick's birthday party at Evelyn's place gathers all of his closest associates (Jean, Paul Owen, Evelyn, Courtney, Timothy Price, Patrick's mother, and brother Sean) around one side of a table with Patrick in the center. Patrick is presented with a red velvet birthday cake and mashes it with a kitchen knife.
* LeaningOnTheFourthWall: Literally conveyed at the beginning and end of Act I with the aid of a clear, plastic curtain dividing the audience from the stage.
** At the beginning of Act I, as the stage fills with smoke behind the plastic barrier, a woman's figure appears and presses her hands up against it, before Patrick's larger figure appears behind her.
** At the end of Act I, the plastic sheet lowers again, as Patrick swings his axe repeatedly at Paul Owen, spraying blood on the curtain.
* MythologyGag:
** Some songs are named after quotes in the book or in the movie, for instance, "Mistletoe Alert", "Hardbody", "I Am Back", and "This is Not An Exit".
** It's revealed to Patrick by the conclusion that his brother Sean could get a reservation at Dorsia at any time because, Sean explains, the restaurant maître d' was his roommate at college--a subtle reference to Bertrand, the French exchange student, in Bret Easton Ellis' ''Literature/TheRulesOfAttraction'' where Sean Bateman was originally a principle character.
* RevisedEnding: There's one small change to the ending of the musical that doesn't occur in the other sources. [[spoiler: Patrick never dumps Evelyn, and by the closing number, they're expected to marry.]]
* SanitySlippageSong: A common theme of several of the musical's numbers, including some that precede some of Bateman's biggest on-stage outbursts ("Killing Time", "Mistletoe Alert") and "Killing Spree", which is more clearly about Bateman having a mental breakdown.
* ScareChord: Before the plastic curtain is raised in Act I, when Bateman's figure appears behind a woman pressing up against the curtain.
* SummonBackupDancers: Appearing in Patrick's apartment for two separate numbers, suggested to be a manifestation of Patrick's own psyche. First, during Bateman's opening morning routine, he's flanked by dancers in various states of dress and sporting various bleeding wounds. Second, while entertaining prostitutes Sabrina and Christine, backup dancers appear in assorted fetish gear.
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