In one scene, Patrick Bateman (Christian Bale) and his yuppie colleagues briefly list all the progressive social issues that they’re aware of as ostensible members of society but clearly care about less than haircuts and business cards. It’s short but so incisively effective as a satire of capital’s liberalwashing tendencies that it’s a perfect synecdoche for the strength of Mary Harron and Guinevere Turner’s script: a script that is broad enough to be laugh out loud funny in its heightened ridiculousness yet precise enough to so devastatingly satirise a particular breed of Reaganite monster which has only grown in cultural prominence since.