Letโs talk about Less Than Zero. No, not the film. Iโm talking about the bookโBret Easton Ellisโs nihilistic masterpiece that drags you through a moral cesspit of 1980s Los Angeles. You might remember it as the story that makes American Psycho look like a quirky self-help guide. Itโs dark, itโs bleak, and it doesnโt pretend to offer you a shred of hope.
And then thereโs the movie adaptation.
Oh, the movie. Itโs as though someone read Ellisโs unflinching tale of moral rot and thought, You know what this needs? Friendship. And a redemption arc. And maybe some heartfelt music in the background. Hollywood, in all its infinite wisdom, decided that audiences couldnโt handle the bookโs existential despair. So, they took a story about the voidโabout the emptiness of privilege, the suffocation of apathy, and the complete erosion of human connectionโand gave it a fuzzy moral centre.
Hereโs the gist: The book is nihilism incarnate. It follows Clay, a disaffected college student who comes home to LA for Christmas and is immediately swallowed whole by a world of cocaine, vapid socialites, and casual cruelty. No one learns anything. No one grows. In fact, the whole point is that these characters are so morally bankrupt, so irreparably hollow, that theyโre beyond redemption. If youโre looking for a happy ending, donโt botherโEllis leaves you stranded in the abyss, staring into the void, wondering if thereโs any point to anything. Spoiler: thereโs not.
Then along comes the 1987 film, directed by Marek Kanievska. It keeps the names of the charactersโClay, Blair, Julianโbut not much else. Instead of being an icy observer of LAโs decadence, Clay is transformed into a love-struck saviour. Blair, a passive figure in the novel, becomes a supportive girlfriend. And Julianโoh, poor Julianโis turned into a sacrificial lamb for the sake of a heartfelt narrative about friendship and second chances.
The film turns Less Than Zero into an anti-drug PSA. Itโs basically Nancy Reagan Presents: a story of addiction, redemption, and the power of love, wrapped in a slick 80s aesthetic. Robert Downey Jr., to his credit, gives a brilliant performance as Julian, the doomed addict. But the character is barely recognisable compared to his literary counterpart. In the book, Julianโs descent into drug-fuelled depravity isnโt a cautionary taleโitโs just another symptom of a world where nothing and no one has any value. In the film, Julian is tragic, yes, but in a way that invites sympathy and, crucially, an attempt at salvation.
Letโs not forget the ending. The novel ends on a note so cold it could freeze your soul: Clay leaves Los Angeles, unchanged, unbothered, and unmoved. The film, however, concludes with Clay and Blair driving off into the sunset, having vowed to turn their lives around. Itโs saccharine. Itโs pandering. Itโs the cinematic equivalent of slapping a motivational poster over a painting by Francis Bacon.
Why did Hollywood do this? Simple: nihilism doesnโt sell. You canโt slap it on a movie poster and expect audiences to line up at the box office. People want catharsis, not existential despair. And so, the filmmakers gutted Less Than Zero of its soul (or lack thereof), replacing its stark nihilism with a hopeful narrative about the power of human connection.
Hereโs the kicker, though: by doing this, the film completely misses the point of Ellisโs novel. Less Than Zero is a critique of LAโs shallow, soulless cultureโa world where connection is impossible because no one feels anything. Turning it into a feel-good story about saving a friend from addiction is not just a betrayal; itโs downright laughable. Itโs like adapting 1984 into a rom-com where Winston and Julia overthrow Big Brother and live happily ever after.
To be fair, the film isnโt badโif you forget the source material exists. Itโs well-acted, stylishly shot, and undeniably entertaining. But as an adaptation, itโs a travesty. Itโs Ellisโs Less Than Zero with all the edges sanded down, the grit scrubbed clean, and a shiny coat of sentimentality slapped on top.
So, if youโve read the book and thought, Wow, that was bleakโI wonder if the movie is any lighter?, the answer is yes, but not in a good way. Itโs lighter because itโs hollowed out, stripped of its existential weight, and repackaged as something safe and digestible.
And if you havenโt read the book? Do yourself a favour: skip the movie, pour yourself a stiff drink, and dive into Ellisโs bleak masterpiece. Just donโt expect any warm, fuzzy feelingsโitโs called Less Than Zero for a reason.









