Me You Madness (2021) Movie Drinking Game & Review
Take a Drink: for every 80s song (Take Two: if the song is from a classic film)
Take a Drink: at each reference to another movie
Take a Drink: every time Linton’s character changes her clothes
Take a Drink: for every random and spontaneous dance or singing break
Take a Drink: whenever a character says “sofa” or “couch”
Do a Shot: for every fart
Do a Shot: game stock reference!
Do a Shot: when “For the Love of Money” (aka: The Apprentice theme song) plays. Was this conscious decision?
By: BabyRuth & Henry J. Fromage –
Imagine, if you will, American Psycho meets Basic Instinct, reimagined as a screwball comedy.
That’s basically Me You Madness in a nutshell. The film stars Louise Linton, also the writer and director, as Catherine Black, a self-described “materialistic, narcissistic, self-absorbed misanthrope.” Catherine is a hedge fund owner who has a taste for the finer things in life, as well as men. Literally. She’s a serial-killing cannibal you guys! She lures her latest victim, Tyler (Ed Westwick) to her Malibu mansion under the guise of a roomate/housesitter search. Turns out Tyler is a small-time burglar out to case the joint. To the surprise of them both, the pair develop feelings for each other. Madness, as well as every song released in the 1980s, ensues.
It would be impossible to continue any further without addressing the elephant in the room. Me You Madness is the creation of Louise Linton. Yes, the wife of Steve Mnuchin, former Secretary of the Treasury under former reality star Donald Trump. You may know her from such hits as that Instagram faux pas, or maybe the “Cruella de Vil” nickname she earned for wearing elbow-length black leather gloves during a photo op for newly minted dollar bills at the Bureau of Engraving and Printing. Then there was that whole “In Congo’s Shadow” fiasco.
As you can imagine, when the trailer for Me You Madness dropped, it wasn’t exactly met with the warmest reception. On top of Linton’s notoriety (and it should be mentioned, Westwick’s), the timing of the release coincides with many real-life parallels to elements of this film: hedge funds (GameStop-Gate) cannibalism (heard the one about Armie Hammer?) Plus, it’s dropping the same week as Trump’s second impeachment hearing, so once again reminding us of that connection. This film’s release is either the absolute worst or genius timing, depending on how you look at it.
And that is the first of many, many contradictions. This film, and Linton herself, is a riddle wrapped in a mystery inside an enigma. To assist me with dissecting this all, I have called upon Henry J. Fromage, who after viewing this film, told me that “Linton has tested the strength of my decision-making matrix, and I’ve failed.” Same.
Henry J. Fromage: Gosh, I totally forgot that whole In Congo’s Shadow “memoir” debacle. Hoo boy. Louise Linton is a walking Karen stereotype, and she loves it. She may even be self-aware… I think?
BabyRuth: I think she wants to make sure we know she is. She has certainly been trying her damndest to distance herself from those past missteps. This is definitely an interesting way to do it.
A Toast
BabyRuth: With its neon hues, gross-out gore, and endless supply of 80s hits (I can’t even imagine how much of this film’s undisclosed budget went towards the music rights), Madness often has the vibe of a Ryan Murphy production (before he loses interest and starts throwing anything and everything to wall). It’s ridiculous, vulgar, and narcissistic. And, just like Catherine, refuses to apologize for any of it.
It’s an insane ride, both in a “what the hell am I watching?” way and “I don’t want to stop watching this” way. I admittedly laughed pretty hard several times throughout, particularly at a montage set to “Let’s Hear it for the Boy” which features Linton gleefully dismembering one of her victims (at one point she waves a severed hand to the lyric “let’s give the boy a hand.”) There’s an earnest quality to it, despite the content obviously never being intended to be taken seriously.
While Linton has said this is a satire of femme fatale films of the 80s and 90s (keep your ears out for several shout-outs), it can also be interpreted as a satire of Linton herself, or at least, her infamous public persona. While she certainly seizes many opportunities for perfectly lit glam moments in expensive ensembles, she doesn’t shy away from looking completely absurd too, (her character seems to have a flatulence problem- I guess human flesh is pretty gas-inducing). Both self-aware and out-of-touch, vain and self-depreciating, the film is a bizarre and fascinating character study of both Catherine and Louise, as it is nearly impossible to separate the two with the creator and character being one in the same. It’s one of the most meta things I have ever witnessed.
Henry J. Fromage: Good god it’s impossible to un-intertwine the smug self-satisfaction of the character and the actress. This is one hell of an interesting choice.
BabyRuth: I recently watched a micro-budget film called Llamageddon, which is about exactly what one would guess it is (a killer llama, come on people!) I viewed Llamageddon the day before Me You Madness and the two had a very similar energy. Both are tongue-in-cheek and self-referential, and a character comically changes clothes too many times to count (often within the same scene) which is never addressed. Me You Madness had a much, much larger budget and much nicer clothing. I’m not sure where I’m going with this, but just wanted to make that observation and let everyone know that a movie called Llamageddon exists.
I repeat: Llamageddon.
Henry J. Fromage: Well, there goes my weekend.
BabyRuth: I apologize in advance…
Oh, I also wanted to toast the Never Leave Your Dog in Hot Car PSA – because it cannot be mentioned enough. (If there is one moment that offers a hint that Catherine is not completely evil, this is it.)
Beer Two
BabyRuth: Those who already made up their minds based off the trailer and are looking for an alcohol-filled hate-watch will find plenty of things to pick apart: The multi-million-dollar vanity project of a privileged elitist. The flaunting of excessive wealth during a time when most people are struggling financially. The mental illness = violent serial killer stereotype. The bisexual = violent serial killer stereotype. The self-satisfied fourth-wall breaking monologues. It’s all there, in glowing hot pink. The film’s attitude basically is “Don’t like it? Too bad, we’re having fun.”
Henry J. Fromage: At first I thought I had her pegged as the type of Real Housewife who does something like this to make all the other Real Housewives jealous (“Those dresses are gorjusss… how many costume changes were there?” *audibly grinds teeth* or “That nude sex scene with Gossip Boy was so tasteful, and at your age sooo brave.” *something, maybe a crown? snaps*). Then it felt like she was just pathologically obsessed with “hey, I’m not just a billionaire’s wife- I’m smart too!” with those several alpha stockbroker/CEO scenes.
In the end, though, I think it’s all of that, yes, but also some genuine, probably taxpayer-funded, joy of filmmaking and, frankly, legitimate talent. It can be two-to-four things.
BabyRuth: I counted at least fifteen.
Beer Three
Henry J. Fromage: I’d be remiss not to point that that she’s just gotta get some private jet defense in there, as well as all of her actual undoubtedly real favorite brands.
BabyRuth: That was the moment I began to warm to this movie. There are so many bizarre choices like that, I could not look away. It’s definitely never boring.
Beer Four
Henry J. Fromage: So that English (or at least UK) accent is real, but the non-rich upbringing is not (she grew up in a Scottish castle!)
BabyRuth: The accent seemed to go in and out. Seeing as how that is a real accent, I can’t tell if that was unintentional or yet another strange choice. Was it supposed to be a Vampire’s Kiss-esque affect of the character’s? Because it seemed to disappear when she was showing vulnerability… my god, what am I saying?
Beer Five
BabyRuth: Linton flexes her movie knowledge often, especially when monologuing about various weapons used in previous films. At one point she decides that a curling iron is a unique and original choice. Uhh, Sleepaway Camp anyone? (*shudders and crosses legs*)
Henry J. Fromage: If by ‘flexes’, you mean she breaks the fourth wall to rattle off the usually (but, credit be due, not always) most obvious examples fitting the situation at hand, then I guess so. Again, it’s hard to say if the squeakily sped-up list of movies that, um, use guns as the weapon of choice is already its own commentary on the ridiculousness of the first couple of times she did it… my god, what am I saying?
Beer Six
BabyRuth: (Possible Spoiler) The conclusion’s tonal shift is pretty whiplash-inducing and I guess can be considered a twist? I kept expecting for it to be a dream sequence, but that moment never came. One of the things I appreciated about this movie is that the characters are unlikeable throughout, so it never asks the audience to invest much in them. But then it does and we’re expected to accept their redemption.
Henry J. Fromage: Yeah, this is just the final twist of the “take a position, self-consciously ironic or no?” knife. By this point, my face had begun to develop a thick callous from the many metaphorical slaps it has taken, but it still stung a tad.
Verdict
BabyRuth: This one made my head spin. It’s definitely one that those who watch the movie (not just the trailer) will have a lot to discuss. I feel like if this film were made by anyone else, it would be received as a silly, campy, romp. And you know what? That’s exactly what it is, if you allow it to be.
Henry J. Fromage: I stand by my assertion that Linton has tested the strength of my decision-making matrix, and I’ve failed. Watch the film, and you’ll get it. Like, please, watch this so it’s not just us.
BabyRuth: Please. Holy shit, does that mean we are recommending this? I need a drink.
