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Fear And Loathing In Las Vegas
A drug addled gonzo journalist Raoul Duke and his lawyer Dr Gonzo drive from LA to Las Vegas on a drugs binge as they search desperately for the 'American dream'. They nominally cover news stories, including a convention on drug abuse, but also sink deeper into a frightening psychedelic otherworld. As Vietnam, Altamont and the Tate killings impinge from the world of TV news, Duke and Gonzo see casinos, reptiles and the American dream.
7 July 1971, Baltimore, Maryland, USA
8 June 1958, Pacific Palisades, California, USA
5 March 1955, Greenfield, Massachusetts, USA
14 July 1926, West Irvine, Kentucky, USA
20 December 1943, Natchitoches, Louisiana, USA
17 February 1949, USA
1 November 1957, Klein, Texas, USA
4 February 1960, Los Angeles, California, USA
1 August 1958, Bensonhurst, Brooklyn, New York, USA
6 March 1955, Los Angeles County, California, USA
29 June 1944, Goose Creek, Texas, USA
7 November 1979, San Bernardino County, California, USA
3 May 1948, Wabasha, Minnesota, USA
1 April 1932, El Paso, Texas, USA
8 April 1946, Coronado, California, USA
29 November 1969, New York City, New York, USA
July 26, 2012
One of Terry Gilliam's worst films (almost unwatchable)
May 02, 2012
Bizarre, unpredictable yet strangely alluring.
June 18, 2002
It's really a series of sketches on one theme.
November 24, 2014
Unless viewed through the prism of psychedelic habituates, it is unlikely audiences will find much to savour in Gilliam's picture.
May 02, 2012
The film is intensely pretentious, far too clever for its own good.
September 07, 2011
(Gilliam's) vision is too reflexively comic to evoke the shadows of dread in Thompson's writing.
May 02, 2012
A peculiar and oddly haunting achievement.
January 01, 2000
If you encountered characters like this on an elevator, you'd push a button and get off at the next floor. Here the elevator is trapped between floors for 128 minutes.
March 26, 2009
Pic serves up a sensory overload without any compensatory reflection on the outlandish and irresponsible behavior on view.
May 02, 2012
It's certainly distinctive, looking at times like Richard Lester put through a postmodernist blender.
January 26, 2006
A film of brilliant moments, but sadly less coherent - and, on senses, rather less personal - than most of Gilliam's work.