The Rules of Attraction

The Rules of Attraction is based on the novel of the same name by American writer, Bret Easton Ellis. It is a kind of companion piece to his other renowned novel (and film), American Psycho. The tenuous link is the character of Sean Bateman (James Van Der Beek), the younger brother of Patrick Bateman, the main character in American Psycho. That is as far as the link goes, but the feel of the two films is similar, both are very dark, somewhat comical and definitely disturbing.

Sean Bateman is obsessed with Lauren (Shannyn Sossamon), who is obsessed with Victor (Kip Pardue), who is obsessed with himself, essentially. To top it all off, there is Paul (Ian Somerhalder), who is obsessed with Sean, and so the cycle continues.

Via a combination of college parties, and other circumstances, the main characters interact their way through a minefield of drugs, casual sex, and experiences that, thankfully, most of us will never have.

Sharon's lingerie parties were always well attended.

There is a depressing and morbid veil that hangs over much of the film, as the dysfunctional characters resort to all manner of attention seeking and exhibitionist behaviour. To elaborate would ruin the numerous scenes that are quite shocking and sudden. The film utilises narration to convey meaning that is rarely missed, and there is quite a lot of reversal in the film as we are taken back to certain points where we shoot off on a tangent, following the chain of events through the eyes of another central character.

This sounds Tarentino-like, and to a point it is, but there are sufficient differences. There are some very disturbing scenes as characters place themselves in situations that are dangerous, and degrading to say the least. Their delusions become more encompassing, and it is questionable that each character would truly know what to do next if they were to land their respective obsession.

"Dawson who?"

There are some wonderful uses of split screen, and the occasional rollback is a great way of allowing viewers into the heads of the characters, dropping us right into the action. There are a number of scenes that will cause the squeamish to wriggle in their seats. There is strong acting from the cast (Van Der Beek, Dawson from Dawson’s Creek, will never look the same) and although there is some deviation from, and watering down of, the novel, this is a film that will leave you feeling somewhat uncomfortable.

This is a spectacular looking transfer in an aspect ratio of 1.85:1 and is 16:9 enhanced. There is also a pan and scam encoded option too, but I recommend you don’t tell your friends. The image is sharp as any you will see on DVD and there is a consistently high level of definition. The colouring is spot on and changes ever so subtly with the seasons. Black levels are great and shadow detail is excellent, which is good as much of the film takes place in darkened rooms or at night.

There are no instances of edge enhancement, shimmer or other compression artefacts. Grain is virtually non-existent, and neither are there many, if any, film artefacts.

The layer change is so well placed between scenes at 67:36 that it is almost undetectable.

This Dolby Digital 5.1 audio track is so front heavy that I cannot recall any action from the rear speakers, not even during the music that is mostly well known stuff from the likes of Love and Rockets, Blondie, The Cure, PIL, George Michael and Erasure. The dialogue is very clear and audible, though there are some audio-synch issues during the early chapters which does improve. There are few low-level sounds and the subwoofer is likewise fairly quiet.

Vocals are mostly centred and there is little in the way of separation or panning. The Dolby Digital 2.0 stereo track is barely discernable from the 5.1 and is more than adequate.

There are a few interesting extras here, but nothing compared to the Region 1 extras, so perhaps a “Collector’s Edition� is planned for the future...

The first of three Audio Commentaries comes from actors Shannyn Sossamon, Theresa Wayman, Kip Pardue and Clifton Collins Jnr. Each actor seems to be delivering their thoughts separate from the others, though editing is such that it suggests they did work together. It is a typical actors’ commentary in that it is fairly shallow and sheds the occasional light on scenes, but mostly focuses on their filmmaking experiences.

The second commentary, like the first, is mostly from actors, this time it’s the turn of Ian Somerhalder, Russell Sams, actor/porn star Ron Jeremy and also production designer Sharon Seymour. Again it is very much an actors' commentary, and again the contributors rarely appear to be together for the commentary. There are some pauses, and nothing of great interest unless you are a glutton for actors’ experiences.

The third and last commentary is perhaps the most interesting. It comes from the film’s editor Sharon Rutter, and actor Eric Szmanda. This offers a slightly deeper commentary and some amusing anecdotes. I recommend that unless commentaries are really your thing, this is the one to start with.

Anatomy of a Scene takes us on a half hour dissection of a very complex split screen scene that is a pivotal moment in the movie. Roger Avery, the director, is the guide through this anatomy and is aided by several cast and crew. It is a little slow to get going, but is recommended viewing for any budding filmmaker.

Australian Teaser Trailer uses a series of film excerpts and an upbeat classical piece (the name escapes me). It is in full frame and quite effective.

Australian Theatrical Trailer is more your usual affair, at roughly two minutes long and offering slightly more than the teaser trailer.

The Rules of Attraction is a very confronting film. Some of the scenes are bordering on shocking, others downright disturbing, but always attention grabbing. Those who like fairly fluffy teen comedies, or stories that roll merrily along to a nice, all-encompassing finale should steer clear. This is not a film to provide you with great laughs, or an easy way to pass an evening. It is a challenging and confronting piece of filmmaking, and is based on the very bold writings of one of America’s more ‘out there’ writers.