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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.
















December 31, 1954

15 May 1952, Los Angeles, California, USA

18 August 1964, Rye Brook, New York, USA

19 August 1942, Watford, Hertfordshire, England, UK

7 November 1979, San Bernardino County, California, USA

8 June 1958, Pacific Palisades, California, USA



8 April 1946, Coronado, California, USA

16 February 1948, Missoula, Montana, USA

2 September 1951, Burbank, California, USA

5 July 1929, Galveston, Texas, USA




30 August 1972, San Diego, California, USA

12 February 1980, Santa Monica, California, USA

17 February 1949, USA

2 April 1961, Washington, District of Columbia, USA


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

29 November 1969, New York City, New York, USA



2 September 1954, Tuba City, Arizona, USA




























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