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Gonzo, is still infectious in its dated way. Revisiting Thompson's 1971 book, the enthusiastic full-tilt stamina of the author's alter ego, Raoul Duke, and his lawyer and partner-in-mayhem, Dr.
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Why then should this gaudy splat of a movie, which is so scrupulously respectful of its source, convey so little visceral energy that when it's over you may feel like shrugging your shoulders?
#Fear and loathing in las vegas hotel movie
But here it is in all its splendiferous funhouse terror: the closest sensory approximation of an acid trip ever achieved byĪ mainstream movie and the latest example of Gilliam's visual bravura. Thompson's brilliant, ranting explosion of verbal psychedelia, has been transferred to the screen by Terry Gilliam withĪ fidelity to the author's hallucinatory imagery that until now seemed impossible to capture in a film. This scene, drawn from one of many uproarious tableaux in "Fear and Loathing in Las Vegas," Hunter S. Conversationsĭecompose into animalistic growls while the bland piped-in voice of Robert Goulet singing "My Love Forgive Me" remains eerily unaltered. Pans around the plush, dimly lighted room crowded with hard-shelled tourists sipping cocktails, they suddenly turn into a sinister convention of lizards smacking their lipless mouths and casting conspiratorial glances. N the teeming lobby of a Las Vegas hotel, the face of a woman behind the reservations desk warps, her features spilling across her face like a clown mask. The New York Times on the Web: Current Film.
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'Fear and Loathing in Las Vegas': The Attitude Is Missing