 In the review of "Fight Club," lines from Tyler Durden cited by the reviewer illustrate the following literary device:
Fincher ( Seven , 1995; The Game , 1997) is out to bombard you with so much feverish imagery that you have no choice but to succumb to the movie's reeling, punch-drunk worldview. Fight Club careers from one resonant satirical idea to the next without quite deciding whether its characters are full of crap or are Gen X prophets. On a plane, he meets Tyler Durden (Brad Pitt), a cryptic hipster with a penchant for subversive acts both large (he makes high-priced soaps from liposuctioned human fat) and small (he splices frames from porn flicks into kiddie movies). When Jack's apartment mysteriously explodes--along with his carefully chosen IKEA furniture--he moves into Tyler's squalid warehouse and helps to found a new religion: Fight Club, in which young males gather after hours in the basement of a nightclub to pound one another (and be pounded) to a bloody pulp. "Self-improvement," explains Tyler, "is masturbation"; self-destruction is the new way. Tyler's manifesto calls for an end to consumerism ("Things you own end up owning you"), and since society is going down ("Martha Stewart is polishing brass on the Titanic "), the only creative outlet left is annihilation. Fincher and his screenwriter, Jim Uhls, seem to think they've broken new ground in Fight Club , that their metaphor for our discontents hits harder than anyone else's.
 metaphor
 allusion  personification  metaphor  irony