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Every few minutes, it seems, something is jumping off the lurid screen, whether it is the ever-present cigarette holder jutting from Duke's leering face or the limp head of a deer carcass on the hood of a jeep. The camera becomes, as it were, a third participant in Duke and Gonzo's debauchery, reeling, vibrating and distorting as the chemical vortex swallows them-and us-deeper and deeper into its altered state. and Vegas, which, according to Duke's voice-over narration, is just about "when the drugs kicked in." (That would be some or all of the following: beer, pot, coke, ether, acid, mescaline, an assortment of pills, and something called "adrenochrome.") From that point on, in fact, the drugs never kick out. The story catches up to their big, swerving convertible-known as the Red Shark-midway between L.A. Thompson is here represented by the character of Raoul Duke (Johnny Depp), while Acosta is called Dr.
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It's also a wide-angle snapshot of the great American dystopia-set against a background of Vietnam and social change-that occurred in what Thompson called "The Foul Year of Our Lord, 1971." Thompson's twisted-no, wrenched-roman a clef about his narcotic-filled journey to cover an off-road motorcycle race and a district attorneys' conference in the Nevada desert, "Fear and Loathing in Las Vegas" delves much deeper than the literal level of personal dysfunction exhibited by him and his traveling companion, attorney Oscar Zeta Acosta.
#FEAR AND LOATHING IN LAS VEGAS CAST MOVIE#
While not a great sensation-you may in fact feel like throwing up-it is a sign of great movie making, particularly when the movie is essentially about the limits to the variety and amount of pharmaceuticals that two individuals can consume without killing themselves.īased on Hunter S. The aftertaste of director Terry Gilliam's ferociously visual, visceral "Fear and Loathing in Las Vegas" lingers well past the closing credits, like a bad hangover. It's a great companion piece.Johnny Depp stars in "Fear and Loathing in Las Vegas." The general response for most Thompson tales is, "That can't be true," but there is proof! The 2020 documentary, Freak Power: The Ballot or the Bomb chronicles Thompson's push to inspire the Hippie generation of Aspen and the surrounding areas to unite and take control of the government using the rules in place by the government. I'm really looking forward to working with the Shout! team to roll it out." A tonic for these times."įilmmaker Bobby Kennedy III said, "I've been following Shout! for several years, I completely connect with and appreciate their tastes and sensibility, and especially their great reputation! So when they made it clear they wanted this film I knew I was in.
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Jay Bulgar is superb and really honors the subversive, fiercely intelligent spirit of Hunter S. "Gonzo yet disciplined, nostalgic yet timely, and evocative of 70s auteurs Ashby, Ritchie and Altman. "Bobby Kennedy III has really pulled off a hat trick with this gem" said Jordan Fields, VP of Acquisitions at Shout! Studios. The only thing capable of holding them back was Thompson himself." Shout! Studios describes the film as, "His attempt to create a third party based around a new, gentler style of law enforcement entranced the national press and made him an overnight celebrity and hero to the "drop out" generation, who rallied around his "Freak Power" platform with notions of taking first Aspen, and then the world.
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These swine should be f-ked, broken, and driven across the land." Thompson's message centered around police reform and environmental justice. This would prevent greed heads, land rapers, and other human jackals from capitalizing on the name 'Aspen'. While on his campaign trail he won over a certain demographic declaring, "(When elected as Sheriff I plan to) change the name Aspen, Colorado to Fat City.