Film Review: The Informers (2008)

Bret Easton Ellis stands as one of the most significant figures in contemporary American literature, with reputation largely shaped by the scandals and controversies surrounding his work, which often confronts uncomfortable truths about a society steeped in moral decay. Much of this unpleasantness can be traced back to Ellis's own upbringing in the upper echelons of American society, a milieu he perceives as populated by individuals utterly devoid of ethics and driven solely by self-indulgence. This perspective has given rise to novels that explore themes of drugs, sex, and perversion within a context of privilege and excess. Hollywood, ever eager to capitalise on such controversies, has adapted several of his works into films, with The Informers, 2008 drama directed by Gregor Jordan, being the last such adaptation.

The Informers is based on Ellis's 1994 novel of the same name and is set against the backdrop of Los Angeles in 1983. The film weaves together multiple stories centred around characters primarily drawn from the upper echelons of the entertainment industry and their families. These individuals lead lives characterised by opulence and indulgence, yet they ultimately discover that their pursuits of drugs and casual sexual encounters leave them feeling hollow and unfulfilled. The nominal protagonist, Graham Sloan (played by Jon Foster), is the son of influential television producer William Sloan (played by Billy Bob Thornton), whose estranged wife and Graham's mother, Laura (played by Kim Basinger), is having an affair with William's best friend, Martin (played by Austin Nichols), a bisexual rock video producer. William's girlfriend, Christie (played by Amber Heard), is promiscuous and cheats on William with numerous men, including Martin. Far from the glitz and glamour is Jack (played by Brandon Renfro), a doorman at Christie's home who came to Los Angeles in hopes of becoming an actor. Now, he has to deal with his uncle, Peter (played by Mickey Rourke), an ex-convict involved in the kidnapping of little children, which are later sells to mysterious and powerful clients with sinister intentions. As William tries to make sense of it all, everyone's lives fall under the shadow of a mysterious new illness called AIDS.

In stark contrast to previous adaptations of Ellis's work, The Informers received overwhelmingly negative reviews from critics upon its release. Its box office performance was dismal, primarily due to inadequate distribution rather than a lack of interest in Ellis's themes. Hollywood's apparent reluctance to fully embrace this film may stem from its unflinching portrayal of Los Angeles as a landscape inhabited by amoral and intellectually shallow individuals—a depiction that hits too close to home for many within the industry.

One subplot involving Jack and his uncle was particularly contentious at the time of release; critics deemed it excessively bizarre. However, in light of subsequent real-world revelations regarding figures like Jeffrey Epstein and Sean Combs, this narrative thread appears not only more accurate but also disturbingly prescient.

Despite its glamorous setting replete with 1980s aesthetics and a vibrant pop soundtrack, The Informers is an uncomfortable viewing experience. Critics have pointed out that while it showcases attractive actors—Amber Heard notably features in several steamy sex scenes—the film is unpleasant to watch with its bleak and disheartening tone. The film’s portrayal of privilege does not translate into enjoyment; rather, it serves as a grim reminder of the emptiness that often accompanies such lifestyles.

This discomfort becomes even more pronounced when The Informers is juxtaposed with Less Than Zero, another adaptation of an Ellis novel set in a similar milieu. Despite its own limitations—namely the constraints imposed by 1980s high-budget productions and a tendency to soften Ellis's more shocking content—Less Than Zero emerges as a more coherent narrative that conveys meaningful commentary on its characters' lives. In contrast, The Informers, under Jordan’s direction, presents a disjointed series of vignettes featuring largely unsympathetic characters whose stories fail to connect in any meaningful way. This lack of cohesion culminates in an unsatisfying open ending that leaves audiences feeling unfulfilled.

The Informers serves as a stark reminder that even within the glitzy veneer of Hollywood glamour lies an unsettling reality—a reality that Ellis captures vividly in his literary works but which remains frustratingly elusive on screen.

RATING: 3/10 (+)

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