Fear and Loathing in Las Vegas (film) - Reception

Reception

Fear and Loathing in Las Vegas underwent preview test screenings – a process that Gilliam does not enjoy. "I always get very tense in those (test screenings), because I'm ready to fight. I know the pressure from the studio is, 'somebody didn't like that, change it!'" The filmmaker said that it was important to him that Thompson like the film and recalls the writer's reaction at a screening, "Hunter watched it for the first time at the premiere and he was making all this fucking noise! Apparently it all came flooding back to him, he was reliving the whole trip! He was yelling out and jumping on his seat like it was a roller coaster, ducking and diving, shouting 'SHIT! LOOK OUT! GODDAMN BATS!' That was fantastic – if he thought we'd captured it, then we must have done it!" Thompson himself stated, "Yeah, I liked it. It's not my show, but I appreciated it. Depp did a hell of a job. His narration is what really held the film together, I think. If you hadn't had that, it would have just been a series of wild scenes."

Fear and Loathing in Las Vegas debuted at the 1998 Cannes Film Festival and Gilliam said, "I'm curious about the reaction...If I'm going to be disappointed, it's because it doesn't make any waves, that people are not outraged." The film opened in wide release on May 22, 1998 and grossed $3.3 million in 1,126 theaters on its first weekend. The film went on to gross $10.6 million, well below its budget of $18.5 million.

Critical reaction to the film was mixed; it currently has a 50% "Rotten" rating on Rotten Tomatoes. In The New York Times, Stephen Holden wrote, "Even the most precise cinematic realizations of Mr. Thompson's images (and of Ralph Steadman's cartoon drawings for the book) don't begin to match the surreal ferocity of the author's language." Stephen Hunter, in his review for the Washington Post, wrote, "It tells no story at all. Little episodes of no particular import come and go...But the movie is too grotesque to be entered emotionally." Mike Clark, of USA Today, found the film, "simply unwatchable." In The Guardian, Gaby Wood wrote, "After a while, though, the ups and downs don't come frequently enough even for the audience, and there's an element of the tedium usually found in someone else's druggy experiences."

Michael O'Sullivan gave the film a positive review in the Washington Post. "What elevates the tale from being a mere drug chronicle is the same thing that lifted the book into the realm of literature. It's the sense that Gilliam, like Thompson, is always totally in command of the medium, while abandoning himself utterly to unpredictable forces beyond his control."

Gene Siskel's "thumbs-up" review at the time also noted the film successfully captured the book's themes into film, adding "What the film is about and what the book is about is using Las Vegas as a metaphor for – or a location for – the worst of America, the extremes of America, the money obsession, the visual vulgarity of America." But Roger Ebert thought the movie was a disgrace. He gave the film one star out of four and said it was "a horrible mess of a movie, without shape, trajectory or purpose--a one joke movie, if it had one joke. The two characters wander witlessly past the bizarre backdrops of Las Vegas (some real, some hallucinated, all interchangeable) while zonked out of their minds. Humor depends on attitude. Beyond a certain point, you don't have an attitude, you simply inhabit a state." He wrapped up his review by saying that Johnny Depp "was once in trouble for trashing a New York hotel room, just like the heroes of "Fear and Loathing in Las Vegas." What was that? Research? After River Phoenix died of an overdose outside Depp's club, you wouldn't think Depp would see much humor in this story—but then, of course, there *isn't* much humor in this story."

Gilliam wanted to provoke strong reactions to his film as he said in an interview, "I want it to be seen as one of the great movies of all time, and one of the most hated movies of all time."

Empire magazine voted the film the 469th greatest film in their "500 Greatest Movies of All Time" list.

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