The story of how George Jung, along with the Medellín Cartel headed by Pablo Escobar, established the American cocaine market in the 1970s in the United States.
In a future world devastated by disease, a convict is sent back in time to gather information about the man-made virus that wiped out most of the human population on the planet.
On the run after murdering a man, accountant William Blake encounters a strange North American man named Nobody who prepares him for his journey into the spiritual world.
Ichabod Crane is sent to Sleepy Hollow to investigate the decapitations of three people, with the culprit being the legendary apparition, The Headless Horseman.
Director:
Tim Burton
Stars:
Johnny Depp,
Christina Ricci,
Miranda Richardson
An artificial man, who was incompletely constructed and has scissors for hands, leads a solitary life. Then one day, a suburban lady meets him and introduces him to her world.
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
In the book Hunter S. Thompson listens to "Sympathy For The Devil" by The Rolling Stones, but the rights to play it in the film were too expensive for the production budget. See more »
Goofs
In The Flamingo Hotel Rauol Duke looks in the peephole to check on Lucy. There's no way Duke can clearly see her. Peepholes can only be clearly seen looking from the inside (of the room) outwards (toward the wall and hallway). 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 credits literally scroll up the freeway. See more »
Viva Las Vegas
Written by Doc Pomus and Mort Shuman
Published by Pomus Songs, Inc., Gladys Music and Unichappel Music, Inc.
a/b/c Mort Shuman Songs
Performed by Dead Kennedys
Courtesy of Cherry Red Records See more »
I have read countless reviews of this movie that have derided it for everything from glorifying drugs to being unchristian to being boring. Maybe my mind works very much like director Terry Gilliam's (I loved 'Brazil' and '12 Monkeys'), but the last thing I would do to this movie is deride it. It is a brilliant adaptation of Hunter S. Thompson's generation-defining book of the same name - it stays very faithful to the events in the book.
First of all, this movie literally glows with Gilliam's eye for detail that he has consistently displayed throughout his career. The sets are so elaborate, one could never take in all the scenery from any number of viewings without slowing it down and watching very closely. The bombardment of the bright, flashing lights of Las Vegas and the bizarre camera angles, as well as surreal sets make for an interesting and entertaining presentation regardless of a lack of coherency and taste. What we have here is a movie riddled with black humor and a horrifying satire of the American dream. I'll admit it takes a very `unchristian' viewpoint to laugh at the `straight economics' of allowing policemen to gang-f**k a girl for $30 a head. Therefore, people bound by a constricting sense of morality should never have watched this movie in the first place. It is for people like me who enjoy living a very un-stoic life (at least vicariously through movies) by having radical ideas and perspectives forced upon them. Fear and Loathing is the embodiment of such a perspective - it is a gruesomely accurate depiction of the bi-product of the often-glorified 60's drug culture. And one thing that countless critics seem to carelessly omit in their analyses is the constant references to the `American Dream.' Johnny Depp (Raoul Duke/Hunter Thompson), in his verbose verbal narrations, makes quite a few references to a desparate hunt for reason behind the madness of not only this `American Dream', but the drug culture as well - "He who makes a beast of himself gets rid of the pain of being a man." - Dr. Johnson (displayed before the opening scene). The problem with the waning popularity of this movie is simply that its design was not meant to appeal to the buttoned-down mainstream. People that want to laugh and cry in a movie theater and then get the hell on aren't the type of people that would enjoy seeing an unjustified drug-induced frenzy on Las Vegas. This movie has everything a critic should be looking for in a masterpiece - magnificent cinematography, lovely acting, shock value, provocation of thought, and a meaning behind it all. To freaks like me it also has immense entertainment value as well. This work will be one of my favorite movies of all time.
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I have read countless reviews of this movie that have derided it for everything from glorifying drugs to being unchristian to being boring. Maybe my mind works very much like director Terry Gilliam's (I loved 'Brazil' and '12 Monkeys'), but the last thing I would do to this movie is deride it. It is a brilliant adaptation of Hunter S. Thompson's generation-defining book of the same name - it stays very faithful to the events in the book.
First of all, this movie literally glows with Gilliam's eye for detail that he has consistently displayed throughout his career. The sets are so elaborate, one could never take in all the scenery from any number of viewings without slowing it down and watching very closely. The bombardment of the bright, flashing lights of Las Vegas and the bizarre camera angles, as well as surreal sets make for an interesting and entertaining presentation regardless of a lack of coherency and taste. What we have here is a movie riddled with black humor and a horrifying satire of the American dream. I'll admit it takes a very `unchristian' viewpoint to laugh at the `straight economics' of allowing policemen to gang-f**k a girl for $30 a head. Therefore, people bound by a constricting sense of morality should never have watched this movie in the first place. It is for people like me who enjoy living a very un-stoic life (at least vicariously through movies) by having radical ideas and perspectives forced upon them. Fear and Loathing is the embodiment of such a perspective - it is a gruesomely accurate depiction of the bi-product of the often-glorified 60's drug culture. And one thing that countless critics seem to carelessly omit in their analyses is the constant references to the `American Dream.' Johnny Depp (Raoul Duke/Hunter Thompson), in his verbose verbal narrations, makes quite a few references to a desparate hunt for reason behind the madness of not only this `American Dream', but the drug culture as well - "He who makes a beast of himself gets rid of the pain of being a man." - Dr. Johnson (displayed before the opening scene). The problem with the waning popularity of this movie is simply that its design was not meant to appeal to the buttoned-down mainstream. People that want to laugh and cry in a movie theater and then get the hell on aren't the type of people that would enjoy seeing an unjustified drug-induced frenzy on Las Vegas. This movie has everything a critic should be looking for in a masterpiece - magnificent cinematography, lovely acting, shock value, provocation of thought, and a meaning behind it all. To freaks like me it also has immense entertainment value as well. This work will be one of my favorite movies of all time.