Fear and Loathing in Las Vegas

This delirious look at the menagerie that is human civilisation through the magnificently chaotic lens of Terry Gilliam takes us through the disillusionment of not just the hangover that came with the 1970s. It is permeated by a timeless mix of admiring sympathy for all lunatics and wonderful prototypes, but also by an acknowledgement of the atrociousness of even the most brilliant individuals, who are supposedly elevated to a higher plane by God-given talent or perceptiveness. Fear and Loathing intoxicatingly reflects the generally repulsive world of values, experiences and illusions that humanity has created for itself and for which the hedonistic boil called Las Vegas is not the obverse, but merely a caricature. In this vomit-inducing flashback, the protagonists of Easy Rider appear as their own killers, who sought nirvana and freedom, but because of their own inherent human baseness, they ultimately remain the same monsters and oafs as the bumpkins, weasels, derelicts and bible thumpers who comprises the whole of humanity. Only they can more spectacularly live out their downhill slide into the snare of primitivism and more floridly verbalise it. Most of Gilliam’s films contain the duality of cheerful humanism and misanthropic depression, but Fear and Loathing remains his most controversial and most magnificent work not only in the intensity of the blending of these opposites. Each of its public screenings, always attended by various kinds of people, all of whom see themselves in an unflattering light on the screen, is a 4DX reality check, where some are simply entertained, some indignantly shake their heads and others realise with horror that each of us is just another lunatic in the kingdom of lunatics. (08/26/2024)

What can I write about this? It's a terribly strange film (what else would we expect from Gilliam?) with weird sets, a deranged story and probably the creepiest anti-heroes in the history of cinema. Depp and Del Toro have played many controversial and peculiar characters in their careers, but none are quite as specific and crazy as Raoul Duke and Dr Gonzo, who have become unquestionable drug titans of the film industry. And it is to these two that Gilliam can thank for making his "enlightening and insightful" project at least partially watchable and at times entertaining – their performances are unforgettable, no matter how exaggerated and implausible. Otherwise, it's just a stilted quest for style that lacks a good plot and real emotions. Reluctant 3*. (07/05/2013)

An original reflection of the time? An insight into the profound depths of a stoned brain? Gilliam is bristling with ideas in this peculiar road movie. Depp’s first attempt at creating Jack Sparrow, Del Toro excellent as always and Tobey Maguire in the role he was born for. No need to take any drugs, and in fact after watching this picture you won’t be wanting to take any. This has it all. And a great soundtrack. (02/07/2013)

I can't help it, but this movie just didn't say anything to me. On one hand, all scenes look improvised, which could be appreciated for the actors, and on the other hand, it's quite hard to watch because it simply lacks a plot. A film that I have avoided for a long time and maybe I should have continued to do so. (12/09/2016)

A horribly crazy something (probably a film), which, to my great delight, is not an ode to drugs, but which, under the surreal taking of existing and non-existent hallucinogens conceals a bitter message about the state of American society (because of which Terry Gilliam also co-wrote and directed all this). But I had to wait for a long time to be in the right mood for Fear and Loathing in Las Vegas, because it's so suggestively shot that my head always started hurting after 15 minutes and the STOP button saved me. (07/22/2018)