Inclubabu
Plot so thin, it passes unnoticed.
Dynamixor
The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.
Scotty Burke
It is interesting even when nothing much happens, which is for most of its 3-hour running time. Read full review
Phillida
Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.
betti2565
Well, first off I have to say i greatly respect Hunter Thompson, at least before he started getting more mainstream and writing for Rolling Stone. I'll keep this short, this did for me to Hunter Thompson what The Osbournes did for Ozzy. This movie is first and foremost very boring, if you read Fear and Loathing or Hell's Angels, Hunter Thompson was real far out, into the pudding! But this shows him hanging out with John Cusack and Johnny Depp and going around doing his daily sh*t like walking around, talking to old people, Rolling Stone mega assholes talking about this sh*t like they know what its about, thats about it. I don't give a f*ck! I was hoping for an old man doing acid and going crazy! Being Hunter Thompson! Don't see this movie if you want to hold on to your respect for Hunter.
seafoam_mouse
I am posting the following as a challenge to the "most useful" comment, which states that this film should be reserved for Doc's "die-hard fans".Firstly, I find the idea of excluding this rare bit of succulent meat in a world of dry bones and paper napkins is blasphemy in the truest sense against all Hunter S. Thompson stood for. True, a die-hard fan will rejoice in letting the juices run down their chin, but truer, damned be the man who proclaims to be holier than thou! If this film seems scattered, frantic, and mindlessly compiled, let it be because the man who it rejoices wanted it so. It is a perfect embodiment of what we can only imagine his hectic mind must have been like inside. Bits and Pieces of a so far gone world and life and place he could not find, and understood those with half a brain could not ourselves.I don't believe that Thompson had any illusions of grandeur and perhaps thought a fool any man who had them in his favor. He knew what he meant to the people he meant it to, and wanted nothing more than to be respected and understood to be the great writer he was by any outsider. This man is a damn good writer. period. Do not be shamed away if you are unexposed. It's here for everyone.This film embraces the character the man was. It allows others to embrace it, and maybe open the door to their awareness of a renegade, gonzo journalist. It takes you from his home life, to ridiculous nightlife, enraged attacks by the Doc on misunderstanding and oblivious Hollywood types, and hilarious pranks on those he knows the best. The door opened here, is smoky, loud, brass and uncouth. It leads to a world we don't like to look at but exists. It's your world, seen through the eyes of an old burned out man, who saw and did and lived things you can only imagine. Buy the Ticket, Take the Ride. You'll be glad you did.
certph
Wayne Ewing's cinema verité portrait of the Doctor of Gonzo Journalism is a keyhole to the everyday life of Hunter S. Thompson. Through years of edited film without any narration or interview from Ewing, this everyday life given to the viewer comes as a bit of a surprise. It is uncommon yet somehow natural. The Thompson I might have predicted is shown throwing a Chivas Regal bottle, spraying people with a fire extinguisher, manhandling blow-up sex dolls, shooting high-powered revolvers, etc. What I didn't expect is the warm interaction between Thompson and his friends. He embraces what might be considered the basket of a flip-flopped American Dream Hollywood in his friendships with John Cusack, Johnny Depp, Benicio Del Toro and Terry Gilliam (not, however, Alex Cox). This juxtaposition reveals a prevalent theme in Breakfast, and perhaps in Hunter himself.Thompson suggested in the film a rationale for his rambunctious lifestyle when he said he was 'making literature out of what would otherwise be considered craziness.' This is the crux of the film, and the motivation for Hunter. Though he may be essentially crazy, some of the craziness he exudes is forced. For Thompson, it works. With drugs, alcohol, violence, etc. he causes excitement from what would otherwise just be boring. He creates a palette for which to convey his message. He did this in Fear and Loathing in Las Vegas through his (Raoul Duke) and his attorney's excessive abuse of drugs to help show the degradation of the American Dream. But can this explain the wild-side Thompson portrayed in Ewing's film? Is their some focused ambition behind spraying Jan Wenner with a fire extinguisher? or soaking Depp, Del Toro and himself in alcohol by sending an opened bottle of scotch freely whirling into the air? Maybe, maybe not. He takes control of any situation with such a crazy gesture, but if it's for some greater good, I don't know. Perhaps Thompson is so high on his own adrenaline that his antics are now focused on sole personal amusement. I like to think this is the case when he laughs off throwing a blow-up sex doll in front of a moving car, or when he mischievously notices an unaccompanied fire extinguisher in a hallway. - -One personal note: something I felt missing from Ewing's portrait was Thompson's intended funeral. A massively-constructed Gonzo fist rifling a bullet containing his remains to explode above the Owl Farm mountains and then cover them like a blanket of rouge on a wrinkled America in such a way that would dwarf the resurrection of Jesus Christ seems to me to say something personal about Hunter S. Thompson.
Zach-Urbina
The documentary is a thinly veiled attempt to "break into" the life of the famed Gonzo fiend and shed light on his inner madness. Many funny scenes throughout the film, especially when Hunter is berating glib English director Alex Cox. The film itself comes across slightly amateur-esque in its editing and presentation, but is certainly a must-see for Hunter fans.