The Informers

I had never heard of this movie until Penthouse recently mentioned it as containing some of the best nudity of any movie released last year. Amber Heard is spectacularly naked almost throughout, and that's enough to earn a look-see from me. But it has such a star-laden cast that I was surprised that it went under my radar. It may be because it is unrelentingly grim.

The film, directed by Gregor Jordan, is based on a novel of connected stories by Bret Easton Ellis, and Ellis co-wrote the script. It is familiar territory for him: the decadence of college-age kids, this time in Los Angeles, circa 1983. They are the children of privilege, numbed by too much drugs and casual sex. They are the kind of people who you may enjoy watch being slaughtered and, indeed, in an opening scene of them is mowed down by a sports car. At his memorial service his mother plays his favorite song, and when it's one by Pat Benatar his so-called friends smirk.

There are adults in the story as well. Billy Bob Thornton plays a selfish studio head (oxymoron?) who is attempting a reconciliation with his ex, Kim Basinger, after leaving a local newscaster (Winona Ryder), but he's doing it mainly to save from getting scalped in a divorce. His son (Jon Foster) is a drug dealer involved with the clothes-challenged Heard, but she has a thing for group sex, frequently inviting Foster's friend, a music video director (Austin Nichols). When we see a news report on TV about the new virus in the gay community, and then Heard talks about getting rashes and bruises, we know what's coming.

There are a few more plot threads, including Chris Isaak as a man trying to reconnect with his zombified son on a trip to Hawaii, and a hotel clerk and struggling actor (Brad Renfro, in his last performance) getting an unwelcome visit from his uncle, Mickey Rourke, who quickly involves him in the kidnapping of a young boy. There's also the cliche of the rock star who is completely lost to drugs and empty sex. In all of these threads there is not a glimmer of sunshine to be found, not a titter of humor. The future is bleak for all of these people.

So why should we watch? Are any of these characters sympathetic? Maybe just a bit, if we're feeling charitable. If we're not, they're getting just what they deserve. But no matter, I found the film to be an interesting stroll through a sub-culture that was summed up by the shallowness of the decade. And we get a lot of cultural artifacts of the era, including the atrocious fashion, hairstyles and music--there's even a shot of the video for "The Safety Dance."

This film received horrible reviews, with many critics mentioning they felt like they needed to shower after watching it. I think that was precisely Ellis' intention.