

Fear And Loathing In Las Vegas
A drug infused journalist and his lawyer are on a quest to have the American dream so they go on a road trip from LA to Las Vegas in the hunt for drugs.
















8 June 1958, Pacific Palisades, California, USA

17 February 1949, USA

March 17, 1941 in San Francisco, California, USA


2 September 1951, Burbank, California, USA

16 February 1948, Missoula, Montana, USA




26 August 1952, Lawrenceburg, Tennessee, USA


24 August 1953, Hutchinson, Kansas, USA



8 April 1946, Coronado, California, USA

7 July 1971, Baltimore, Maryland, USA

30 August 1972, San Diego, California, USA




5 March 1955, Greenfield, Massachusetts, USA



24 May 1934, Los Angeles, California, USA

1 August 1958, Bensonhurst, Brooklyn, New York, USA

20 April 1948, Washington, District of Columbia, USA

16 April 1954, The Bronx, New York City, New York, USA

1947, Brooklyn, New York, USA



































May 02, 2012
Bizarre, unpredictable yet strangely alluring.
May 02, 2012
The film is intensely pretentious, far too clever for its own good.
July 26, 2012
One of Terry Gilliam's worst films (almost unwatchable)
January 26, 2006
A film of brilliant moments, but sadly less coherent - and, on senses, rather less personal - than most of Gilliam's work.
November 24, 2014
Unless viewed through the prism of psychedelic habituates, it is unlikely audiences will find much to savour in Gilliam's picture.
June 18, 2002
It's really a series of sketches on one theme.
September 07, 2011
(Gilliam's) vision is too reflexively comic to evoke the shadows of dread in Thompson's writing.
May 02, 2012
A peculiar and oddly haunting achievement.
March 26, 2009
Pic serves up a sensory overload without any compensatory reflection on the outlandish and irresponsible behavior on view.
January 01, 2000
If you encountered characters like this on an elevator, you'd push a button and get off at the next floor. Here the elevator is trapped between floors for 128 minutes.
May 02, 2012
It's certainly distinctive, looking at times like Richard Lester put through a postmodernist blender.