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Fear and Loathing in Las Vegas Movie Review

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1998 flick directed by Terry Gilliam

Fear and Loathing in Las Vegas
FandlinLV.jpg

Theatrical release poster
Directed by Terry Gilliam
Screenplay past Terry Gilliam
Tony Grisoni
Alex Cox
Tod Davies
Based on Fear and Loathing in Las Vegas
past Hunter S. Thompson
Produced by Patrick Cassavetti
Laila Nabulsi
Stephen Nemeth
Starring
  • Johnny Depp
  • Benicio del Toro
Cinematography Nicola Pecorini
Edited by Lesley Walker
Music by Ray Cooper

Production
companies

Rhino Films
Pinnacle Amusement
Distributed by Universal Pictures

Release date
  • May 22, 1998 (1998-05-22)

Running time

 118 minutes
Land Us
Language English
Budget $xviii million
Box office $13.7 million

Fright and Loathing in Las Vegas is a 1998 American adventure black comedy film adapted from Hunter Southward. Thompson's 1971 novel of the aforementioned name. It was co-written and directed past Terry Gilliam, and stars Johnny Depp and Benicio del Toro every bit Raoul Knuckles and Dr. Gonzo, respectively. The movie details the duo's journey through Las Vegas every bit their initial journalistic intentions devolve into an exploration of the metropolis under the influence of psychoactive substances.

The film received mixed reviews from critics and was a financial failure, only has since become a cult archetype among movie fans.

Plot [edit]

In 1971, Raoul Duke and Dr. Gonzo speed beyond the Nevada desert. Duke, nether the influence of mescaline, complains of a swarm of giant bats, and inventories their drug stash. They pick up a young hitchhiker and explain their mission: Duke has been assigned by a magazine to encompass the Mint 400 motorcycle race in Las Vegas. They bought excessive drugs for the trip, and rented a crimson Chevrolet Impala convertible. The hitchhiker flees on foot at their behavior. Trying to reach Vegas earlier the hitchhiker tin can go to the constabulary, Gonzo gives Duke part of a canvass of Sunshine Acid, and so informs him that there is picayune chance of making it before the drug kicks in. By the time they achieve the strip, Knuckles is in the full throes of his trip and barely makes it through the hotel check-in, hallucinating that the clerk is a moray eel and that his fellow bar patrons are orgiastic lizards.

The side by side day, Knuckles arrives at the race and heads out with his photographer, Lacerda. Knuckles becomes irrational and believes that they are in the middle of a battlefield, so he fires Lacerda and returns to the hotel. Later consuming more mescaline, also equally huffing diethyl ether, Knuckles and Gonzo arrive at the Bazooko Circus casino just leave shortly afterwards, the chaotic atmosphere frightening Gonzo. Back in the hotel room, Duke leaves Gonzo unattended, and tries his luck at Big Six. When Duke returns he finds that Gonzo, loftier on LSD, has trashed the room, and is in the bathtub clothed, attempting to pull the tape player in with him as he wants to hear the vocal ameliorate. He pleads with Duke to throw the machine into the water when the song "White Rabbit" peaks. Duke agrees, merely instead throws a grapefruit at Gonzo'due south caput earlier running exterior and locking Gonzo in the bathroom. Duke attempts to type his reminisces on hippie culture, and flashes dorsum to San Francisco where a hippie licks spilled LSD off his sleeve.

The adjacent morning, Duke awakens to an exorbitant room service beak, and no sign of Gonzo (who has returned to Los Angeles while Duke slept), and attempts to leave town. Every bit he nears Baker, California, a patrolman stops him for speeding, and advises him to slumber at a nearby remainder stop. Duke instead heads to a payphone and calls Gonzo, learning that he has a suite in his proper name at the Flamingo Las Vegas and then he can cover a district attorney'southward convention on narcotics. Duke checks into his suite, only to be met by an LSD-tripping Gonzo and a young girl called Lucy, who Gonzo explains has come to Las Vegas to meet Barbra Streisand, and that this was her first LSD trip. Duke convinces Gonzo to ditch Lucy in another hotel before her trip wears off.

Gonzo accompanies Duke to the convention, and the pair discreetly snort cocaine every bit the guest speaker delivers a comically out-of-touch oral communication about "marijuana addicts" before showing a cursory film. Unable to accept it, Duke and Gonzo abscond back to their room, only to discover that Lucy has chosen. Their trips mostly over, Gonzo deals with Lucy over the phone (pretending that he is being savagely beaten by thugs) as Knuckles attempts to mellow out by trying some of Gonzo's stash of adrenochrome. However, the trip spirals out of control, and Duke is reduced to an incoherent mess earlier he blacks out.

Afterward an unspecified corporeality of fourth dimension passes, Duke wakes upwardly to a consummate ruin of the once pristine suite. Later discovering his tape recorder, he attempts to recall what has happened. As he listens, he has cursory memories of the general mayhem that has taken place, including Gonzo threatening a waitress at a diner,[1] himself convincing a distraught cleaning adult female that they are police officers investigating a drug ring, and attempting to buy an orangutan.

Knuckles drops Gonzo off at the airdrome, driving right up to the airplane, before returning to the hotel one concluding time to terminate his article. He then speeds dorsum to Los Angeles.

Cast [edit]

  • Johnny Depp as Raoul Duke
  • Benicio del Toro as Dr. Gonzo
  • Tobey Maguire every bit The Hitchhiker
  • Christina Ricci as Lucy
  • Ellen Barkin as The Waitress at North Star Buffet
  • Gary Busey as The Highway Patrolman
  • Mark Harmon equally The Magazine Reporter at Mint 400
  • Cameron Diaz as The Blonde Boob tube Reporter
  • Katherine Helmond as The Desk-bound Clerk at Mint Hotel
  • Michael Jeter as Dr. Elron Bumquist
  • Craig Bierko equally Lacerda
  • Lyle Lovett as The Road Person
  • Flea equally Hippie
  • Larry Cedar as Car Rental Amanuensis - Los Angeles
  • Tim Thomerson as Hoodlum
  • Richard Riehle as Dune Buggy Driver
  • Richard Portnow as Wine Colored Tuxedo
  • Steve Schirripa every bit Goon
  • Larry Brandenburg equally Cop in Dorsum
  • Jennifer Elise Cox as Shopper
  • Kim Flowers equally Lizard Performer
  • Tane McClure as Lizard Performer

Cameos [edit]

  • Christopher Meloni as Sven, Flamingo Hotel Clerk
  • Harry Dean Stanton equally The Approximate
  • Troy Evans equally Police Main
  • Debbie Reynolds equally Herself (vocalization)
  • Jenette Goldstein as Alice the Maid
  • Verne Troyer as Wee Waiter
  • Gregory Itzin every bit Mint Hotel Clerk
  • Laraine Newman as Frog-Eyed Adult female
  • Penn Jillette as Bazooko Circus Barker
  • Hunter S. Thompson every bit Older Raoul Knuckles in Matrix flashback

Production [edit]

Development [edit]

In January 1976, Texas Monthly announced that Larry McMurtry had signed a contract to write a screenplay for a motion-picture show accommodation.[2] Martin Scorsese and Oliver Rock each tried to get the film off the footing, but were unsuccessful and moved on.[iii]

Rhinoceros Films began work on a film version every bit early on every bit 1992.[iv] Caput of Production and the picture show's producer Stephen Nemeth originally wanted Lee Tamahori to directly, just he wasn't available until after the Jan 1997 start date.[4] Depp wanted Bruce Robinson to straight, but he was "unavailable... past choice".[5] Rhino appealed to Thompson for an extension on the film rights but the author and his lawyers denied the extension. Under pressure, Rhino countered past dark-green-lighting the motion-picture show and hiring Alex Cox to direct within a few days.[iv] According to Nemeth, Cox could "do it for a toll, could do it quickly and could go this picture going in four months."[4]

Rhino hired Terry Gilliam and was granted an extension from Thompson but just with the stipulation that the director made the picture show. Rhinoceros did non want to commit to Gilliam in case he didn't work out.[4] Thompson remembers, "They simply kept asking for more [fourth dimension]. I got kind of agitated nearly it because I thought they were trying to put off doing it. So I began to charge them more... I wanted to see the movie done, in one case it got started."[4] The studio threatened to make the film with Cox and without Depp and del Toro. The two actors were upset when producer Laila Nabulsi told them of Rhinoceros's plans.[iv] Universal Pictures stepped in to distribute the film. Depp and Gilliam were paid $500,000 each but the director still did not have a business firm deal in place. In retaliation, Depp and Gilliam locked Rhino out of the set during filming.[4]

Casting [edit]

During the initial development to get the film made, Jack Nicholson and Marlon Brando were originally considered for the roles of Duke and Gonzo but they both grew as well old.[6] Afterward, Dan Aykroyd and John Belushi were considered for the duo, but that cruel autonomously when Belushi died. John Malkovich was later considered for the office of Duke, only he grew as well erstwhile besides. At one point John Cusack was almost cast (Cusack had previously directed the play version of Fear and Loathing in Las Vegas, with his brother playing Duke).[seven] Yet, after Hunter S. Thompson met with Johnny Depp he became convinced that no 1 else could play him. When Cox and Davies started writing the screenplay, Depp and del Toro committed to starring in the film.[4]

Gilliam said in an interview that his films are actor-led, the performance of the ii characters in Fear and Loathing is hyper realistic just truthful: "I am interested in existent people in bizarre, twisted environments that force them to act... to react confronting."[8]

Dr. Gonzo is based on Thompson's friend Oscar Zeta Acosta, who disappeared sometime in 1974.[9] Thompson changed Acosta's indigenous identity to "Samoan" to deflect suspicion from Acosta, who was in trouble with the Los Angeles County Bar Clan. He was the "Chicano lawyer" notorious for his political party binges.

The lead actors undertook extraordinary preparations for their respective roles. Del Toro gained more 45 pounds (18 kg) in nine weeks before filming began, eating xvi donuts a day,[ten] and extensively researched Acosta's life.[nine] [11] In the bound of 1997, Depp moved into the basement of Thompson's Owl Farm home and lived there for four months, doing research for the role every bit well equally studying Thompson's habits and mannerisms.[12] The actor went through Thompson's original manuscript, mementos and notebooks that he kept during the actual trip.[12] Depp remembers, "He saved it all. Non only is [the book] truthful, but there's more. And it was worse."[xiii] Depp even traded his automobile for Thompson's red Chevrolet Caprice convertible, known to fans equally The Swell Red Shark, and collection it effectually California during his grooming for the function.[14] Many of the costumes that Depp wears in the flick are genuine articles of habiliment that Depp borrowed from Thompson, and the writer himself shaved Depp'due south head to match his ain natural male person pattern alopecia.[12] Other props, such as Duke's cigarette filter (a TarGard Permanent Filter System), Hawaiian shirts, hats, a patchwork jacket, a silverish medallion (given to him by Oscar Acosta) and IDs, belonged to Thompson.[14]

Writing [edit]

Cox started writing the screenplay with Tod Davies, a UCLA Thompson scholar. During pre-product, Cox and producer Laila Nabulsi had "creative differences" and she forced Rhino to choose between her and Cox.[4] She had an organization with Thompson to produce the pic and the studio fired Cox and paid him $60,000 in script fees. Thompson's disapproval of the Cox/Davies script handling is documented in the pic Breakfast with Hunter.

The decision was made to not use the Cox/Davies script, which gave Gilliam but ten days to write another.[15] Gilliam has stated in an interview "When nosotros were writing the script, we actually tried not to invent annihilation. We sort of cannibalized the book."[16] The director enlisted the help of Tony Grisoni and they wrote the script at Gilliam'due south home in May 1997. Grisoni remembers, "I'd sit at the keyboard, and nosotros'd talk and talk and I'd keep typing."[15] One of the most important scenes from the book that Gilliam wanted to put in the film was the confrontation between Duke and Dr. Gonzo and the waitress of the North Star Coffee Lounge. The director said, "This is two guys who accept gone beyond the pale, this is unforgivable – that scene, it's ugly. My arroyo, rather than to throw information technology out, was to make that scene the low point."[17]

Initially, the studio wanted Gilliam to update the book for the 1990s, which he considered, "Then I looked at the film and said, 'No, that's apologizing. I don't desire to repent for this affair. Information technology is what it is.' It's an artifact. If it's an authentic representation of that book, which I thought was an accurate representation of a particular time and place and people."[18] Gilliam, while speaking to Sight & Sound magazine, highlighted if he had updated the movie to the 1990s it would just "exist a story well-nigh two people going to backlog". Keeping it ready in the 70's, using the backdrop of the Vietnam State of war and a perceived loss of the American dream, offers reasoning to the characters actions.[nineteen]

Writers credit dispute with WGA [edit]

When the film approached release, Gilliam learned that the Writers Order of America (WGA) would not allow Cox and Davies to be removed from the credits even though none of their material was used in the production of the film. According to WGA rules, Gilliam and Grisoni had to prove that they wrote 60% of their script. The managing director said, "Simply there have been at to the lowest degree five previous attempts at adapting the volume, and they all come from the volume. They all utilise the same scenes."[20] Gilliam remarked in an interview, "The cease upshot was we didn't exist. Equally a director, I was automatically deemed a 'production executive' past the guild and, past definition, discriminated against. But for Tony to go without whatsoever credit would be really unfair."[21] David Kanter, agent for Cox and Davies, argued, "About 60 percent of the decisions they made on what stays in from the book are in the film – as well every bit their mental attitude of wide-eyed anarchy."[21] According to the audio commentary past Gilliam on the Criterion Drove DVD, during the catamenia where it appeared that only Cox and Davies would be credited for the screenplay, the film was to begin with a short scene in which it is explained that no matter what is said in the credits, no writers were involved in the making of the picture show. When this changed in early on May 1998 later on the WGA revised its determination and gave credit to Gilliam and Grisoni first and Cox and Davies second, the brusque was not needed.[17] Angered over having to share credit, Gilliam publicly burned his WGA carte du jour at a 22 May book signing on Broadway.[22] [17]

Filming [edit]

According to Gilliam, at that place was no firm budget in place when filming started.[23] He felt that it was not a well-organized picture show and said, "Certain people didn't... I'm not going to name names but it was a strange film, like one leg was shorter than the other. There was all sorts of chaos."[15] While Depp was on location in Los Angeles, he got a telephone call from comedian Pecker Murray who had played Thompson in Where the Buffalo Roam. He warned Depp, "Be careful or you'll discover yourself ten years from now still doing him… Make sure your side by side role is some drastically different guy."[24]

Shooting on location in Las Vegas began on 3 Baronial 1997 and lasted 56 days. The product ran into problems when they wanted to shoot in a casino. They were only allowed to flick between two and six in the morning time, given just six tables to put extras around and insisted that the extras actually take chances.[15] Exterior shots of the Bazooko Casino were filmed in front of the Stardust hotel/casino with the interiors synthetic with a Warner Bros. Hollywood soundstage.[25] To get the period expect of Vegas in the 1970s, Gilliam and Pecorini used rear-project footage from the old television show, Vega$. Co-ordinate to the cinematographer, this footage heightened the moving-picture show's "already otherworldly tone an actress notch."[25]

Cinematography [edit]

Nicola Pecorini was hired based on an audience reel he sent Gilliam that fabricated fun of the fact that he had only one centre (he lost the other to retinal cancer).[25] According to Pecorini, the look of the film was influenced by the paintings of Robert Yarber that are "very hallucinatory: the paintings utilize all kinds of neon colors, and the calorie-free sources don't necessarily brand sense."[25] Co-ordinate to Gilliam, they used him every bit a guide "While mixing our palette of deeply disturbing fluorescent colors."[26]

For the desert scenes, Pecorini wanted a specific, undefined quality without a real horizon to convey the notion that the mural never concluded and to emphasize "a certain kind of unreality outside the characters' automobile, considering everything that matters to them is within the Scarlet Shark."[25] For the scene where Duke hallucinates a lounge full of lizards, the production was supposed to have 25 animatronic reptiles merely they only received seven or 8.[25] The production used movement-control techniques to make information technology look similar they had a whole room of them and made multiple passes with the cameras outfitting the lizards with dissimilar costumes each time.[25]

During production, it was Gilliam's intention that it should feel like a drug trip from kickoff to cease. He said in an interview, "We outset out at full speed and it's WOOOO! The drug kicks in and you're on speed! Whoah! Y'all become the buzz – it's crazy, it'due south outrageous, the rug's moving and everybody's laughing and having a smashing fourth dimension. Just and so, ever so slowly, the walls beginning closing in and it's like you're never going to get out of this fucking place. It's an ugly nightmare and there'southward no escape."[14] To convey the effects of the diverse drugs, Gilliam and Pecorini assembled a list of "phases" that detailed the "cinematic qualities" of each drug consumed.[25] For ether, Pecorini said they used a "loose depth of field; everything becomes non-defined"; for adrenochrome, "everything gets narrow and claustrophobic, move closer with lens"; mescaline was faux past having "colors melt into each other, flares with no sources, play with colour temperatures"; for amyl nitrite, the "perception of lite gets very uneven, light levels increase and decrease during the shots"; and for LSD, "everything extremely broad, hallucinations via morphs, shapes, colors, and sound."[25]

Pecorini and Gilliam decided they wanted the picture to exist shot wide-angle just because of the small budget they couldn't afford the downfalls of anamorphic lenses so they paired the Arriflex 535, Arri BL-4S and the Arri 35-iii with a ready of Zeiss Standard Primes and Kodak's 250D Vision 5246 filmstock in order to attain the saturated look the film has.[27]

Soundtrack [edit]

Professional person ratings
Review scores
Source Rating
AllMusic link

The music belongs to the psychedelic rock and archetype rock genre. The soundtrack contains songs used in the flick with sound bites of the movie before each vocal. About of the music is present in the soundtrack with a few exceptions: the Lennon Sisters' version of "My Favorite Things" from The Sound of Music which plays at the beginning of the pic, Jefferson Airplane's "Somebody to Love" which is heard during a flashback, Debbie Reynolds' "Tammy", Perry Como's "Magic Moments", Beck, Bogert & Appice's "Lady", Tom Jones' "It'due south Not Unusual", Frank Sinatra's "Y'all're Getting to Be a Habit with Me", Combustible Edison'south "Spy vs Spy", the Out-Islanders' "Moon Mist" from Polynesian Fantasy, Robert Goulet's "My Beloved, Forgive Me", and a recording of "Ball and Concatenation" past Janis Joplin.

The Rolling Stones song "Jumping Jack Flash" is heard at the conclusion of the film as Thompson drives out of Las Vegas. Gilliam could not pay $300,000 (one-half of the soundtrack budget) for the rights to "Sympathy for the Devil" by the Rolling Stones, which plays a prominent part in the book.[4]

The Dead Kennedys rendition of "Viva Las Vegas" is heard at the very end of the closing credits.

Rail list [edit]

No. Title Performed past Length
1. "Combination of the Two" Big Brother and the Belongings Company 5:47
two. "One Toke Over the Line" Brewer & Shipley 3:43
iii. "She's a Lady" Tom Jones two:53
4. "For Your Love" The Yardbirds 2:36
5. "White Rabbit" Jefferson Airplane three:thirteen
six. "A Drug Score – Role one (Acid Spill)" Tomoyasu Hotei & Ray Cooper 0:52
7. "Become Together" The Youngbloods 5:41
8. "Mama Told Me Not to Come up" 3 Dog Dark 3:51
ix. "Stuck Within of Mobile with the Memphis Blues Once more" Bob Dylan 7:27
ten. "Time Is Tight" Booker T. & the MG's 3:29
11. "Magic Moments" Perry Como iii:04
12. "A Drug Score – Part ii (Adrenochrome, the Devil's Dance)" Tomoyasu Hotei & Ray Cooper 2:27
13. "Tammy" Debbie Reynolds iii:03
fourteen. "A Drug Score – Role 3 (Flashbacks)" Tomoyasu Hotei & Ray Cooper two:26
xv. "Expecting to Fly" Buffalo Springfield 4:17
16. "Viva Las Vegas" Dead Kennedys iii:23
Total length: 61:00

Release [edit]

Fear and Loathing in Las Vegas underwent preview test screenings – a procedure that Gilliam does non enjoy. "I e'er become very tense in those (exam screenings), considering I'thousand gear up to fight. I know the force per unit area from the studio is, 'somebody didn't like that, alter information technology!'"[xiii] The filmmaker said that information technology was of import to him that Thompson like the film and recalls the writer'south reaction at a screening, "Hunter watched it for the starting time time at the premiere and he was making all this fucking dissonance! Obviously it all came flooding dorsum to him, he was reliving the whole trip! He was yelling out and jumping on his seat like it was a roller coaster, ducking and diving, shouting 'SHIT! LOOK OUT! GODDAMN BATS!' That was fantastic – if he thought we'd captured information technology, then we must take washed it!"[fourteen] Thompson himself stated, "Yeah, I liked it. It's not my show, simply I appreciated information technology. Depp did a hell of a job. His narration is what actually held the film together, I think. If you hadn't had that, information technology would have just been a series of wild scenes."[28]

Fearfulness and Loathing in Las Vegas debuted at the 1998 Cannes Film Festival[29] and Gilliam said, "I'm curious near the reaction... If I'm going to be disappointed, it's considering information technology doesn't make whatever waves, that people are not outraged."[30]

Habitation media [edit]

Past the time Fright and Loathing was released as a Criterion Collection DVD in 2003, Thompson showed his approval of the Gilliam version by recording a full-length sound commentary for the film and participating in several DVD special features.[31]

On an sound commentary track in the Criterion edition of the DVD, Gilliam expresses not bad pride in the film and says information technology was one of the few times where he did non accept to fight extensively with the studio during the filming. Gilliam chalks this up to the fact that many of the studio executives read Thompson'due south book in their youth and understood it could not exist made into a conventional Hollywood film. Nevertheless, he does limited frustration with the advertising campaign used during its initial release, which he says tried to sell it equally wacky comedy. The film was afterward released by Universal Studios on Hard disk DVD and, subsequently, Blu-ray; Benchmark released the film on Blu-ray on 26 Apr 2011.[33]

Reception [edit]

Box office [edit]

The movie opened in broad release on 22 May 1998 and grossed $3.iii 1000000 in one,126 theaters on its first weekend. The film went on to gross $10.6 one thousand thousand, well beneath its upkeep of $18.five million.[34] However, the movie reignited interest in Thompson's novel. Vintage Printing reported an initial reprint of 100,000 copies to tie in with the film's release, but demand was higher than expected and forced the novel to become back to impress a further five times.[35]

Critical response [edit]

Gilliam wanted to provoke strong reactions to his motion picture every bit he said in an interview, "I want information technology to be seen every bit 1 of the great movies of all time, and one of the about hated movies of all fourth dimension."[13] Fright and Loathing in Las Vegas polarized critics; it currently has a l% approving rating on Rotten Tomatoes based on 70 reviews, with an average rating of 5.93/x. The site's critical consensus calls the moving-picture show "visually creative, but also aimless, repetitive, and devoid of grapheme development."[36] Metacritic calculated an average score of 41 out of 100 based on 19 reviews, indicating "mixed or average reviews".[37] Audiences polled by CinemaScore gave the motion picture an boilerplate course of "C+" on an A+ to F scale.[38]

In The New York Times, Stephen Holden wrote, "Even the most precise cinematic realizations of Mr. Thompson's images don't begin to match the surreal ferocity of the author'south language."[39] Stephen Hunter, in his review for the Washington Post, wrote, "Information technology tells no story at all. Little episodes of no particular import come up and become...But the movie is besides grotesque to be entered emotionally."[40] Mike Clark, of USA Today, establish the film "simply unwatchable."[41] In The Guardian, Gaby Forest wrote: "After a while, though, the ups and downs don't come up often enough even for the audience, and there's an chemical element of the tedium usually found in someone else's druggy experiences."[42] Roger Ebert found the film disgraceful, giving it one star out of four and calling it:

a horrible mess of a moving-picture show, without shape, trajectory or purpose–a one joke movie, if it had one joke. The two characters wander witlessly by the bizarre backdrops of Las Vegas (some real, some hallucinated, all interchangeable) while zonked out of their minds. Humor depends on attitude. Beyond a certain point, you don't have an attitude, you but inhabit a state.[43]

Gene Siskel's "thumbs-up" review at the time also noted the film successfully captured the book's themes into motion picture, adding "What the picture is about and what the book is about is using Las Vegas every bit a metaphor for – or a location for – the worst of America, the extremes of America, the coin obsession, the visual vulgarity of America."[44] Michael O'Sullivan gave the film a positive review in the Washington Post. "What elevates the tale from being a mere drug relate is the aforementioned thing that lifted the book into the realm of literature. Information technology'southward the sense that Gilliam, like Thompson, is always totally in command of the medium, while abandoning himself utterly to unpredictable forces beyond his control."[45] Empire magazine voted the film the 469th greatest moving picture in their "500 Greatest Movies of All Time" list.[46]

Andrew Johnston, writing in Time Out New York, observed: "Fear is really a Rorschach examination of a pic – some people will come across a godawful mess, rendered inaccessible past the stumbling handheld camera and Depp's nearly incomprehensible narration. Others will see a freewheeling comedy, a thinking person'due south Cheech and Chong film. It all depends on your mood, expectations and land of mind (for the tape, I was stone sober and basically enjoyed myself)."[47]

Status [edit]

The film has been re-screened at diverse cinemas such as The Prince Charles Movie theater in Leicester Square, London and a special screening from original VHS tape at Swordtail Studio London in 2016.[48]

The increased attention for the film has too led some news outlets to reconsider the mixed original reception of the film; Scott Tobias of The A.V. Guild argued in his more recent review of the film that "the film would have had a greater touch had it been produced at the time, when Brewster McCloud proved that anything was possible, but brusk of a time machine, Gilliam does what he can to bring the era back to life."[49]

Awards [edit]

The film was nominated for a variety of awards that both praised and condemned it. Terry Gilliam was nominated for the Palme d'Or at the 1998 Cannes Film Festival while Johnny Depp won the Best Foreign Actor award from the Russian Guild of Motion picture Critics in 1998.

Yet, Depp and Del Toro were besides nominated by the Stinkers Bad Moving-picture show Awards for Worst On-Screen Couple, and during the aforementioned awards Del Toro's portrayal of Dr. Gonzo was also nominated for the Worst Supporting Role player.

Meet as well [edit]

  • Gonzo journalism
  • The Rum Diary
  • Where the Buffalo Roam
  • List of films featuring hallucinogens

References [edit]

  1. ^ "Fear And Loathing In Las Vegas: 5 Things The Motion picture Changed From The Book (And 5 Things Kept The Aforementioned)". ScreenRant. 20 June 2019. Retrieved 14 September 2020.
  2. ^ West, Richard (January 1976). "Texas Monthly Reporter". Texas Monthly . Retrieved 29 August 2011.
  3. ^ David Morgan (1999). "The Making of Fear and Loathing in Las Vegas". Retrieved 15 December 2006.
  4. ^ a b c d e f 1000 h i j thousand Ebner, Marking (January 1998). "Fright and Bleating in Las Vegas: Hunter Thompson Goes Hollywood". Premiere.
  5. ^ "Johnny Depp and Managing director Bruce Robinson THE RUM DIARY Interview". 26 October 2011. Retrieved 10 July 2017.
  6. ^ Nathan Lee (12 May 2006). "Fear and Loathing in Las Vegas". The New York Times . Retrieved 4 January 2007. (registration required)
  7. ^ Laila Nabulsi. Fear and Loathing in Las Vegas audio commentary (DVD).
  8. ^ clamenza33 (21 September 2008), Terry Gilliam Interview - Fearfulness & Loathing , retrieved xix February 2017
  9. ^ a b Doss, Yvette C (5 June 1998). "The Lost Legend of the Existent Dr. Gonzo". Los Angeles Times.
  10. ^ "'Melania knew what she was putting on': Benicio Del Toro on drugs, Sicario and Trump'due south border war". The Guardian. 29 June 2018. Retrieved 22 November 2018.
  11. ^ Elias, Justine (June 1998). "Backside the Scenes: Terry Gilliam". Us Weekly.
  12. ^ a b c Brinkley, Douglas (June 1998). "Johnny, Become Your Gun". George. pp. 96–100, 109–110.
  13. ^ a b c McCracken, Elizabeth (June 1998). "Depp Accuse". ELLE.
  14. ^ a b c d Holden, Michael John Perry, Bill Borrows (December 1998). "Fright and Loathing". Loaded.
  15. ^ a b c d Gale, David (June 1998). "Cardboard Castles and Chaos". Icon. pp. 102–105.
  16. ^ clamenza 33 (21 September 2008).'Terry Gilliam Interview - Fear & Loathing'.Youtube. Real to Reel interview. Retrieved from:https://www.youtube.com/watch?v=e4QOU8wS7jI
  17. ^ a b c Smith, Giles (25 May 1998). "War Games". The New Yorker. pp. 74–79.
  18. ^ Rowe, Douglas J (29 May 1998). "Terry Gilliam Can Fly Without Acid". Associated Press.
  19. ^ Macabe, Bob (1998). "Chemical Warfare". Sight and Audio. eight: vi–8 – via Sight and Sound digital archive.
  20. ^ McCabe, Bob (December 1998). "One on One". Empire. pp. 120–123.
  21. ^ a b Willens, Michele (17 May 1998). "How Many Writers Does information technology Have...?". The New York Times.
  22. ^ "Dreams: Gilliam burns his WGA card - Pictures!". Smart.co.uk. Retrieved 17 February 2017.
  23. ^ Houpt, Simon (21 May 1998). "Going Gonzo with Fear and Loathing". The Earth and Postal service. pp. D1–D2.
  24. ^ Brinkley, Douglas (26 July 1998). "Road to Ruin". Sunday Mail.
  25. ^ a b c d e f g h i Pizzello, Stephen (May 1998). "Gonzo Filmmaking". American Cinematographer. pp. 30–41.
  26. ^ Pizzello, Stephen (May 1998). "Unholy Grail". American Cinematographer. pp. 42–47.
  27. ^ "Gonzo Filmmaking - page two". world wide web.theasc.com . Retrieved xviii Feb 2017.
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  29. ^ "Festival de Cannes: Fear and Loathing in Las Vegas". festival-cannes.com . Retrieved 29 September 2009.
  30. ^ Kirkland, Bruce (17 May 1998). "The Gonzo Dream: The Long, Strange Trip of Filming Hunter S. Thompson's '"Fear and Loathing in Las Vegas". Toronto Sun.
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  35. ^ Fear and Loathing in Las Vegas at Rotten Tomatoes
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  37. ^ "Home". CinemaScore . Retrieved 28 February 2022.
  38. ^ Holden, Stephen (22 May 1998). "A Devotedly Drug-Befuddled Rampage Through a 1971 Vision of Las Vegas". The New York Times.
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  48. ^ "Looking back at Terry Gilliam's Fright And Loathing In Las Vegas". The A.V. Club. 24 February 2011. Retrieved 12 February 2017.

External links [edit]

  • Fright and Loathing in Las Vegas at IMDb
  • Fear and Loathing in Las Vegas at AllMovie
  • Fear and Loathing in Las Vegas at Box Part Mojo
  • Fright and Loathing in Las Vegas at Rotten Tomatoes
  • Fear and Loathing in Las Vegas at Metacritic Edit this at Wikidata
  • Fearfulness and Loathing in Las Vegas: A Pint of Raw Ether and 3 Reels of Moving-picture show an essay by J. Hoberman at the Criterion Collection
  • Wide Angle/Closeup: Fright and Loathing script analysis – Compares Gilliam/Grisoni and Cox/Davies screenplays

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Source: https://en.wikipedia.org/wiki/Fear_and_Loathing_in_Las_Vegas_%28film%29

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