Films about money have long been a Hollywood staple, apt for an American industry obsessed with making the green stuff. From the early silent films like Chaplin's Gold Rush to modern day banker bashers like Wolf of Wall Street and The Big Short - there's a fascination with the pursuit of wealth and those who have it.

American Psycho began life as a controversial and critically discussed postmodern novel. Brett Easton Ellis' 1991 work was a truly shocking piece of work that captured the public's attention in such a fashion that the film rights were bought a year later and in 2000, the film adaptation was unleashed on the world (and a musical followed in 2013). Christian Bale's portrayal of psychopathic serial killer Patrick Bateman is one of cinema's most memorable characters and his love of '80s pop music has become the fodder for many a meme.

The juxtaposition of upbeat '80s pop with scenes of violent murder, toy with the notion of rational obsession and irrational desire. Bateman is obsessed with the liner notes of albums and the minute detail of pop music's evolution in a thoroughly analytical way. This is at odds with the senseless explosions of violence that follow his lectures on pop. His spiel on Huey Lewis and The News before killing Paul Allen is an iconic scene from the movie.

Speaking like a smooth talking radio DJ describing the band's progression, Bateman plays the cheery 'Hip To Be Square' before losing the plot and ploughing an axe through his colleague's head. There was a brief controversy when the film's soundtrack was released, as the album had to be recalled and the track omitted as the rights hadn't been cleared by Huey Lewis himself. It had been rumoured that Huey wasn't too keen on the film's content but it became clear that wasn't true when the 30-year reissue of Sports saw Mr. Lewis and The News team up with Weird Al Yankovic for a spoof of the scene.

Whitney Houston, however, did have an issue with the film's content and objected to the inclusion of 'Greatest Love of All', so an instrumental version had to be used again. Bateman speaks about it to two prostitutes, in a softly spoken voice he says the song is: "one of the best, most powerful songs ever written, about self-preservation, dignity... it's impossible in this world we live in to empathise with others. But we can always empathise with ourselves." I think Whitney probably felt the song was about love.

The musical highlight has to be from another of Bateman's fine speeches. Holding a jewel case, stood in front of his high-end CD player, Christian Bale's character thinks about the growth and evolution of an artist and the lineage of music across albums (all while ordering the two prostitutes to undress and dance for him). The music is completely and utterly out of place. A perfect way to drape pop culture over a dirty, seedy underbelly of capitalist consumer society and the guardians of it.

The question remains: "Do you like Phil Collins?"