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Fear and Loathing in Las Vegas (1998)

 -  Comedy  -  22 May 1998 (USA)
7.7
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Ratings: 7.7/10 from 178,665 users   Metascore: 41/100
Reviews: 628 user | 148 critic | 19 from Metacritic.com

An oddball journalist and his psychopathic lawyer travel to Las Vegas for a series of psychedelic escapades.

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(book), (screenplay), 3 more credits »
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Title: Fear and Loathing in Las Vegas (1998)

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Cast

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Storyline

The big-screen version of Hunter S. Thompson's seminal psychedelic classic about his road trip across Western America as he and his large Samoan lawyer searched desperately for the "American dream"... they were helped in large part by the huge amount of drugs and alcohol kept in their convertible, The Red Shark. Written by Laurence Mixson

Plot Summary | Plot Synopsis

Taglines:

Four Days, Three nights, Two Convertibles, One City See more »

Genres:

Comedy

Motion Picture Rating (MPAA)

Rated R for pervasive extreme drug use and related bizarre behavior, strong language, and brief nudity | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

22 May 1998 (USA)  »

Also Known As:

Angst und Schrecken in Las Vegas  »

Box Office

Budget:

$18,500,000 (estimated)

Opening Weekend:

£206,498 (UK) (13 November 1998)

Gross:

£206,498 (UK) (13 November 1998)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

| |

Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

During the montage at the beginning of the film (where Raoul and Dr Gonzo drive around collecting things for the trip) there is a glimpse of a bunch of people packing things onto a psychedelically-painted school-bus. This is most likely a reference to Ken Kesey and his band of Merry Pranksters who also drove around in a psychedelically-painted school-bus. See more »

Goofs

When Duke and Gonzo are stopped by the side of the road with the hitchhiker, Gonzo's watch changes between the shot where he says "What the fuck are we doing out here in the middle of the desert..." and "... We need help." See more »

Quotes

[first lines]
Raoul Duke: [narrating] We were somewhere around Barstow, on the edge of the desert, when the drugs began to take hold. I remember saying something like:
Raoul Duke: I feel a bit lightheaded. Maybe you should drive.
Raoul Duke: [narrating] Suddenly, there was a terrible roar all around us, and the sky was full of what looked like huge bats, all swooping and screeching and diving around the car, and a voice was screaming:
Raoul Duke: Holy Jesus. What are these goddamn animals?
[swatting the air]
Raoul Duke: Huh! Huh! Huh! Fucking pigs.
Dr. Gonzo: Did you ...
[...]
See more »

Crazy Credits

The Ralph Steadman drawings from the book are put in with the credits, along with the Gonzo & Duke in the Red Shark picture that takes up the whole screen at the end. See more »

Connections

Referenced in Bum Reviews: Pirates of the Caribbean 4 (2011) See more »

Soundtracks

Lady
Written by Jeff Beck, Tim Bogert, Carmine Appice and Diane Kitchings
Performed by Beck, Bogert, Appice
Published by EMI Music Publishing Ltd. and B. Feldman & Co Ltd.
Courtesy of Epic Records
by arrangement with Sony Music Licensing
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Don't do drugs, just see this movie- Gilliam's masterpiece, perhaps
19 March 2000 | by (United States) – See all my reviews

Hunter S. Thompson's Fear and Loathing in Las Vegas is a psychedelic comedy, but also an astute piece of literature-cum-political science on a period in American history that was just really strange, thus reflected by its creator. It was the pioneer in 'Gonzo journalism' and sent Thompson's star even higher than it had with Hell's Angels. Although it's one of my personal favorite books, it could have been tricky to adapt it- Alex Cox tried and failed- but somehow Terry Gilliam digs into the Thompson psychology, dementia, and off-the-wall humor, while also putting his unmistakable mark on the material. Two sensibilities thus merge, alongside the tremendous performances (underrated, despite the praise from fans) from Depp and Del-Toro. It asks an essential question- how does society end up crossing paths with the outlaws? But there's more than that- much more in fact- but it takes more than one viewing. I remember writing the first time I saw it: "This film is so bizarre you might just want to put down the bong and get high from this movie (after all, the movie contains every single known drug known to man since 1544)."

Granted, it's immediate appeal is that of a midnight movie, the ultimate midnight movie, as a work where the visual style is cranked up to a queue that goes even further than past Gilliam ventures. Distorted, sometimes tilted, widescreen angles, very bright, strange colors via Nicola Pecorini, and a beating soundtrack loaded with everything from Jefferson Airplane to Tom Jones to Bob Dylan to Debbie Reynolds (what kind of rat bastard psychotic would put that on right now, at this moment)! And aside from Depp and Del-Toro, who immerse themselves to the hilt (Depp especially is in a form here comparable to his Pirates movies- you can't see anyone else play the character, and at the same time you almost can't recognize him, a credit to Depp's 'method' style), there's hilarious supporting work from Craig Bierko, Tobey Maguire, Gary Busey, Harry Dean Stanton (Castration!), and Christina Ricci, and even an extremely moving and dangerous scene with Ellen Barkin.

It's not an easy film, to be certain, and it will likely appeal to those who may think 'ah, drugs, I like drugs, must be my kind of movie'. But it's not that simple; it's actually fairly critical of drug use, in an overblown, Fellini-esquire satirical manner (eg Adrenochrome, which is a tiny landmark of gonzo film-making to complement the author), and there really is no point where Gilliam, Thompson or the characters say 'take drugs'. On the other hand, there is also a critical attitude, a refreshing and brilliant one, on authority, like at the DEA convention at the hotel- again, strange times in society. At the same time the film is superb as escapist fun, in the darkest and craziest ways that only a maverick like Gilliam and his people can pull off, it's also got some layers in the substance, of Duke and Gonzo almost as relics from a former era already in 1971. With consistently quotable dialog, excruciating moments of depravity, and some of the most outrageous production design in any film, Fear and Loathing in Las Vegas is an unlikely cult classic, and in its own delirious fashion a possible definitive work from the director alongside Brazil.


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Similar films? PauloSeabra
My favorite cameo in this movie... Paranoid_Android_82
Critical of drug usage? nik-115
Who could play Hunter? lpthuglife_89
We were somewhere around Barstow, on the edge of the desert... TooManyFives
Where is the American dream? zbeforefly
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