Fear & Loathing: 100% Fearless Review
Many Hollywood cameras have made their way into and out of Las Vegas, portrays a bag of American culture, which is possible to numerous multi-colored and some not so extravagant hotels and casinos in the city. Most published Vegas movie reviews go for the top-10 approach, which draw in many ways like teeth, there is hardly a critic in the world who can say what movies top the Vegas charts based on the individual film appeal and since most modern journalists PR people are simply receiving free dinners from the studio manager, do not leave us a lot of confidence to invest in their tainted spaces.
To any literary love, movie fans, it seems a film on all dinner, BBQ and bar conversation makes his rounds conversations that are almost always accompanied with plenty of drinking be conversations that always imitates together with someone is a Trudging, mumbling character as He delves into America’s putrid intestines. The movie is Fear and Loathing in Las Vegas.
No other film before its release, or after for that matter, the famous gambling city has much like Fear and Loathing in Las Vegas portrayed. Adapted by probably the greatest writer and journalist Hunter S. Thompson’s novel America, the film lassos, as they rush to the West, to refute the viewer into the torments profound philosophies and denigration of the sports journalist and his lawyer girlfriend America’s greatest fallacy: The American Dream . Supported by an inventory of psychedelic drugs, these characters tell the rapid nosedive a once extraordinary culture, a culture on the verge of debauchery, painstakingly detailed, of a few short-lived golden decades, can testify just to crash land.
It seems like most critics and reviewers not get the recognition it deserves give the film. Most condemn the film lack of development and its representation of an excessive drug culture, but what they do not get that the film embodies Thompson’s “Gonzo” as well as the protagonist of the modus operandi. Instead of a standard classical narrative, the film is a swirl of psychedelia with patches of America sad reality mixed, similar to the uncertainty of the human spirit.
The film begins, how funny we witness anti-hero Raoul Duke wielding a fly swatter in imaginary flying bats somewhere in the middle of the great American dessert, but the story quickly progresses to a degeneration of the social reality, while his confused characters try to make sense of it all to make. By Terry Gilliam’s eyepiece and using the Italian-born cinematographer Nicola Pecorini compositions Fear and Loathing in Las Vegas backups to important visual dimensions: the cinematic world of Oliver Stone’s Natural Born Killers (the trick of shooting live projections) and the canvases of Robert Yarber, so that the viewer the feeling of urban sterility mixed with lucrative bragging.
Although slap-bang in the middle of the mess the lights, money, cars and famous people and under the influence of some of the world’s most horrible substances, Raoul Duke never quite steps over Event Horizon, contains a handle on what is important. For him, the rut of American mediocrity, they do not ask the right questions and the aberration of family life is to remember all its leaders, and the film, like the book, makes sure that no one leaves unscathed.
For movie fanatics, the propaganda of fear and believe that thinking for yourself is the most important of the virtues, Fear and Loathing in Las Vegas is not only the best Vegas movie of all time, but perhaps one of the few post-90 movies This will hit the Hollywood-created psychosis out of you.