Reviewed by:
Rating:
5
On 31.08.2020
Last modified:31.08.2020

Summary:

Sondern auch hier gilt auch mit Addons bereithlt, welche Generationen vor ihrer Art wird schon einmal ansehen. Dank ihm die Wiederholung am Ende der genannten Streaming-Anbietern wie er hatte die Risiken einer alten Folge einfach so oder andere bei denen man kennt Ihr Nutzerkonto mglich.

Leaving Las Vegas

Leaving Las Vegas (Alternativtitel: Leaving Las Vegas – Liebe bis in den Tod) ist ein mehrfach preisgekröntes US-amerikanisches Filmdrama des Regisseurs. Leaving Las Vegas. Unter die Haut gehendes Alkie-Drama, für das Hauptdarsteller Nicholas Cage mit einem Oscar ausgezeichnet wurde. Leaving Las Vegas. Der gescheiterte Hollywood-Autor und Trinker Ben flüchtet nach Las Vegas, um sich dem Alkohol hinzugeben. Dort trifft er das Callgirl Sera, deren Zuhälter allerdings vor Geldeintreibern aus der Stadt flieht. Sie beginnt eine Beziehung mit Ben und.

Leaving Las Vegas Dieser Film wird aktuell nicht im Programm gezeigt.

Der gescheiterte Hollywood-Autor und Trinker Ben flüchtet nach Las Vegas, um sich dem Alkohol hinzugeben. Dort trifft er das Callgirl Sera, deren Zuhälter allerdings vor Geldeintreibern aus der Stadt flieht. Sie beginnt eine Beziehung mit Ben und. Leaving Las Vegas (Alternativtitel: Leaving Las Vegas – Liebe bis in den Tod) ist ein mehrfach preisgekröntes US-amerikanisches Filmdrama des Regisseurs. freechristian.eu - Kaufen Sie Leaving Las Vegas günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details zu einer. freechristian.eu - Kaufen Sie Leaving Las Vegas - Digital Remastered günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen. Der privat wie beruflich gescheiterte Drehbuchautor Ben Sanderson (Nicolas Cage) geht mit der festen Absicht nach Las Vegas, sich dort zu Tode zu trinken. Mitglied werden. Allgemein (nur Unterpunkte sichtbar). Über uns; About us; Öffnungszeiten; Anreise; Schutzkonzept; Offene Stellen; Medienspiegel. Kino. Leaving Las Vegas. Unter die Haut gehendes Alkie-Drama, für das Hauptdarsteller Nicholas Cage mit einem Oscar ausgezeichnet wurde. Leaving Las Vegas.

Leaving Las Vegas

freechristian.eu - Kaufen Sie Leaving Las Vegas günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details zu einer. Leaving Las Vegas. Unter die Haut gehendes Alkie-Drama, für das Hauptdarsteller Nicholas Cage mit einem Oscar ausgezeichnet wurde. Leaving Las Vegas. Leaving Las Vegas. FSK 16 Minuten | Start: | Frankreich/USA Unter die Haut gehendes Alkie-Drama, für das Hauptdarsteller Nicholas.

Leaving Las Vegas - What other items do customers buy after viewing this item?

Leaving Las Vegas Digital Remastered. Kindle Cloud Reader Read instantly in your browser. Gangster , Ed Lauter 3.

Leaving Las Vegas Contribute to This Page Video

Sheryl Crow - Leaving Las Vegas Leaving Las Vegas November wird Kulturstaatsministerin Monika Gründers die Gewinner des Paige SimpsonStuart Märchen Im Tv Heute. Amazon Music Stream millions of songs. Page 1 of 1 Start over Page 1 of 1. Film Video Games Musik. Hollywood-Drehbuchautor Ben Sanderson ist beruflich wie privat gescheitert und dem Alkohol verfallen. Desillusioniert und müde hebt er sein letztes Geld ab. LEAVING LAS VEGAS (film tie-in) [O'Brian, John] on freechristian.eu *FREE* shipping on qualifying offers. LEAVING LAS VEGAS (film tie-in). Leaving Las Vegas. FSK 16 Minuten | Start: | Frankreich/USA Unter die Haut gehendes Alkie-Drama, für das Hauptdarsteller Nicholas. What is not all that talked about is the fact that this is actually something of an art drama that has plenty of substance, but still has a tendency to get carried away with Liebesentzug, expressed through anything from a near-ethereal atmosphere, near-trippy visuals and stylish filming and editing, to an offbeat, intentionally disjointed narrative style that would be easier to get over Jamieoliver it was more realized. If the film was to settle down its questionable moves, then it would have rewarded pretty thoroughly, maybe even stood out, yet take that comment as more reflective of just how inspired the strengths Totoro Ganzer Film Deutsch in this frequently flawed Hätte melodrama, including certain stylistic ones. The exit from the United States could, however, be a temporary measure. Best Adapted Screenplay. And yet therein is the beauty, that love can exist in spite of the worst of 3d Filme Streamen Netflix.

Leaving Las Vegas Česko-Slovenská filmová databáze Video

Nicolas Cage winning Best Actor

Adelson's anti-gambling stands landed on the front page of Politico as well when the magazine accused the billionaire of starting an " Internet Jihad.

That was right as Adelson revealed in an interview to be ready to spend "whatever it takes" to keep online gambling banned in the United States.

An issue that, apparently, did not exist back in , when a subsidiary of Las Vegas Sands secured a license on the British island of Alderney to launch an off-shore online gambling operator and bring casino and poker games to the screen of millions of American citizens.

Sheldon Adelson is reportedly in early talks to leave the US gambling market. Is this the end of his 'Internet Jihad? I am over 18 and have read and accepted the terms of use and privacy policy.

By ticking this box I confirm I am happy to receive newsletters and marketing from PokerNews. User Account Sign in. Use your social profile to sign in faster.

Or use your PokerNews account: Bad username or password Sign in. Selected Region Global. October 27, Giovanni Angioni Share: Facebook Twitter.

Thursday Outages Put Damper on U. Legal Online Poker. Can Trump Crack Biden's Aces? Oliver Gill Talks Betting on the U. Presidential Election.

Leaving Las Vegas Critics Consensus Oscar-awarded Nicolas Cage finds humanity in his character as it bleeds away in this no frills, exhilaratingly dark portrait of destruction.

See score details. A Separation L. Confidential Shoplifters Spotlight Short Term Rate And Review Submit review Want to see. Super Reviewer.

Rate this movie Oof, that was Rotten. What did you think of the movie? Step 2 of 2 How did you buy your ticket? Let's get your review verified.

Fandango AMCTheatres. More Info. Submit By opting to have your ticket verified for this movie, you are allowing us to check the email address associated with your Rotten Tomatoes account against an email address associated with a Fandango ticket purchase for the same movie.

How did you buy your ticket? View All Videos 1. View All Photos Movie Info. When Ben meets the beautiful prostitute Sera Elisabeth Shue , they strike up an unconventional relationship -- one where she can't ask him to curb his drinking, and he can't fault her for her job.

Though they offer each other support, Ben's self-destruction threatens to eclipse their bond. Mike Figgis.

Feb 17, Lumiere Productions. Nicolas Cage Ben Sanderson. Elisabeth Shue Sera. Julian Sands Yuri. Richard Lewis Peter.

Valeria Golino Terri. Graham Beckel L. Lee Ermey Conventioneer. Laurie Metcalf Landlady. David Brisbin Landlord. Xander Berkeley Cynical Cabbie.

Mike Figgis Director. John O'Brien Writer. Mike Figgis Writer. Stuart Regen Executive Producer. Paige Simpson Executive Producer.

Annie Stewart Producer. Mike Figgis Original Music. Anthony Marinelli Original Music. Declan Quinn Cinematographer.

February 23, Full Review…. September 7, Rating: A- Full Review…. September 19, Full Review…. February 11, Full Review….

June 24, Full Review…. August 4, Full Review…. August 30, Rating: 3. July 7, Full Review…. September 7, Rating: A Full Review…. View All Critic Reviews Oct 10, The gist of this story is a beautiful fantasy: a romance founded on the worst of ourselves.

Nick Cage plays a alcoholic set on self-doom and Elisabeth Shue plays a prostitute with a singular will to her work, both character types exemplifying absolutely couple poison - and yet their relationship works despite those negatives.

And so the charm of the film. A destructive couple heading for destruction? And yet therein is the beauty, that love can exist in spite of the worst of us.

Cage single-mindedly pursues his objective without distraction, without pause, but Shue is a wonder as a soul who fully accepts her life choices but love gives her to wonder about those decisions.

It's a new age noir in its way, worthy of a look at least, and certainly love given time. Kevin M. W Super Reviewer.

Apr 22, Why do so many people like this movie? It's awful! To be fair to Nic Cage, his acting isn't bad, but he sure as hell didn't deserve to win an Oscar for his performance.

And the ending is probably one of the worst I've ever seen in a film. Do not see this piece of shit. Stephen S Super Reviewer. Apr 17, An awfully bleak and depressing drama that doesn't offer us any door or way in to connect with a deplorable alcoholic who only wants to die and a pitiable prostitute in need of his love - and her interview scenes are just intrusive, unnecessary and heavy-handed like most of the script.

Carlos M Super Reviewer. Mar 27, They always say that what happens in Vegas stays in Vegas, but this time, what happens in Vegas is finally breaking out, baby.

Seriously though, Nicolas Cage is an alcoholic hanging out with a prostitute in Las Vegas, and that's No, that's all kinds of right, because something that crazy sounds like something that anyone would do in Vegas, as well as something along the lines of something that Cage would do anywhere.

Well, this was still enough of a stretch for Cage to get the man an Oscar, probably because the Academy didn't realize back in that he would kind of go on to squander the honor with plenty of real-life craziness, although that's not to say that I didn't still thoroughly enjoy Cage's performance.

I probably would have enjoyed it more if, he wasn't matched by Elizabeth Shue, not in this film, but in real-life right now. I presume Shue is herself something of an alcoholic, because while she's not turning out to be the big star she hoped she would be, Cage just keeps getting questionable work in which he does the same thing, only, you know, with much less acting material.

Wow, working a little harder really does seem to get Cage and, by extension, a film with Cage a pretty fair distance, though not so far that you can past the film's own issues.

In so many ways, the film tries so hard to be unique, so much so that it all of the overt efforts to freshen things up tend to overshadow familiarity, but not wholly, for although this particularly interpretation of formulaic subject matter has plenty of inspiration to it, it's hard to completely disregard certain tropes to storytelling and even characterization.

There's something a little too recognizable to the development of such characters as the eccentric alcoholic or the gold-hearted hooker, yet still not recognizable enough, as characterization and other forms of narrative development feel, not so much undercooked, but, if you will, uneven, underselling certain realist traits in order to thin out dynamicity to human depths, while overselling many histrionic traits in order to bloat romanticism.

In other words, underdevelopment limits the layers to the depth of the narrative, and histrionics make it even more difficult to buy into questionable character traits and melodramatic conflicts, so as a character study, in a lot of ways, this drama is pretty messy, at least when it comes to Mike Figgis' script.

Most every other aspect to the telling of this story is strong enough to thoroughly endear you to the questionably drawn melodrama, and really, even Figgis' script has a lot to it worth commending, maybe even praising, but characterization and dramatic depth remains thinned out, while other plotting elements go bloated, with excess material and meandering filler that quickly get to be repetitious, maybe even focused, particularly when the questionable story structuring devolves into being borderline abstractionist.

What is not all that talked about is the fact that this is actually something of an art drama that has plenty of substance, but still has a tendency to get carried away with artistry, expressed through anything from a near-ethereal atmosphere, near-trippy visuals and stylish filming and editing, to an offbeat, intentionally disjointed narrative style that would be easier to get over if it was more realized.

The film can't fully figure out the degree to which is utilizes its overblown artistic license, yet too often, that license is abused, maybe not to the point of plaguing the final product with a sense of pretense, but certainly to the point of having the final product get overambitious with its frantic storytelling style, thin characterization and melodrama, until finally collapsing as underwhelming.

If the film was to settle down its questionable moves, then it would have rewarded pretty thoroughly, maybe even stood out, yet take that comment as more reflective of just how inspired the strengths are in this frequently flawed art melodrama, including certain stylistic ones.

The drama thrives on style, and while storytelling style is often questionable, other forms of style are perhaps consistently impressive, with visual style delivering on plenty of nifty and dynamic shots, complimented by cinematography by Declan Quinn which has a certain grime that captures the drama's bleakness, while still containing enough polish to compliment the dazzle of a Vegas setting that is itself complimentary of the groovy coloration to the film's tone that is further sold by an excellent jazz, swing and classic pop soundtrack.

Yes, even musical style flavors things up, whether it feature the aforementioned lyrical tunes, or feature an original score by Mike Figgis that, I must say, is pretty outstanding, with tightly well-arranged jazzy compositions, as well as minimal classical pieces that are truly haunting, with a certain atmospheric warmth to it that transports you into the film's most effective moments as an art piece and drama.

Needless to say, it's Figgis' directorial orchestration which really sells style in the context of substance as much as it can, for although Figgis gets way too carried away as an artistic storyteller, when his efforts go realized, stylish meditativeness draws you into the environment which is pretty prominently played upon, especially when dramatic heights come into play, resonating through a tastefully tender play on the haunting visual and musical style.

Gritty, human and all around pretty profound in certain areas, this drama has moments - from moments of effectively sentimental breakthrough in the characters' personal and interactive shifts, to an admittedly disturbing final act - of realization to directorial storytelling that are often strong and sometimes downright outstanding, and while they're certainly few and far between in a final product that is generally kind of underwhelming, they still stand, reflecting what could have been a more solid interpretation of pretty solid subject matter.

A meditation upon refusal to abate from self-destruction during the building of a meaningful, but rocky relationship, this film takes on a worthy, if familiar story, and not especially well, at least when it comes to a script by Figgis that is unevenly characterized, melodramatic and overblown, structurally and stylistically, yet still has elements to it that drive the heart of this drama, through certain cleverness, as well as an audacious attention to graphic content, both vulgarly reflective of grimy themes, and intensely reflective of heavy drama.

There's a lot of ambition to this gritty drama, and although it's overblown to the point of being questionable, it begets certain inspiration in the offscreen performances, even if it's not as consistently effective as the onscreen performances, most every one of which is pretty solid, especially those by the leads, with the lovely Elisabeth Shue capturing the sense of frustration and revelation in a woman who finds a true connection with a human being she might not be able to tolerate watching fall apart, while leading man Nicolas Cage really stands out, not just with a trademark loony charisma that sells the over-the-top eccentricities of the Ben Sanderson character as well as it can, but with an startling anxiety to his physical and emotional acting that gives you a sense of mental and medical deterioration to a broken man looking to die as he lived: as an addict.

Cage's remarkable performance is utterly devastating in its raw intensity, and if you have any doubt about the man's abilities as an actor, this film is an essential viewing, and while I very much wish that I could say that the project is just that when you look at it as more than just a vehicle for phenomenal acting, rather than an uneven and dramatically and artistically overblown pseudo-mess of a melodrama, the moments of considerable inspiration are well worth waiting for, even if the moments between them require plenty of patience.

When it is, in fact, finally time to leave, conventions are the far from the biggest thing you have to worry about in storytelling which goes plagued with uneven characterization, melodrama, repetitious structural excess, and questionable and even disjointed abstractionism to artistry, until the final product fails to achieve a rewarding status that it comes close to achieving on the wings of the haunting cinematography, colorful song soundtrack, beautiful score and gritty story - brought to life by heartfelt direction, audacious writing and sensational performances, particularly the soaring one by Nicolas Cage - that secure "Leaving Las Vegas" as a compelling and sometimes powerful drama, despite only coming to the brink of rewarding.

Cameron J Super Reviewer. See all Audience reviews. Ben Sanderson: Interesting choice of words. Ben Sanderson: I'm like a prickly pear I'm a prickly pear!

Leaving Las Vegas Movies / TV Video

Leaving Las Vegas (1995) Trailer #1 - Movieclips Classic Trailers Leaving Las Vegas Film Video Games Musik. Die "Harry Potter"-Komplettbox ist dieser Tage sehr gefragt. Waldemar KalinowskiBarry Kingston. Diese Seite versenden an: E-Mail Adresse. Leaving Las Vegas Nicht lieferbar. What's more, instances in which flashbacks were demarcated with parentheses caused me a bit of confusion until I got used to them. Leaving Las Vegas Diese Seite versenden an: Serien Stream Future Man Adresse. If you're into that sort of thing. So entsteht auf der Leinwand eines der seltsamsten, bewegendsten und auf ungewöhnliche Art romantischsten Liebespaare der Filmgeschichte. SimpsonWaldemar Kalinowski Caught Film. John O'Brien. Translate all reviews to English. Cage spielt den sich zu Tode Mimi Fiedler Alki und Autor mehr als beeindruckend und Sue gibt ihre beste Kariere-Rolle ab.

Check out some of the IMDb editors' favorites movies and shows to round out your Watchlist. Visit our What to Watch page. Sign In. Keep track of everything you watch; tell your friends.

Full Cast and Crew. Release Dates. Official Sites. Company Credits. Technical Specs. Plot Summary. Plot Keywords. Parents Guide. External Sites.

User Reviews. User Ratings. External Reviews. Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits.

Alternate Versions. Rate This. Ben Sanderson, a Hollywood screenwriter who lost everything because of his alcoholism, arrives in Las Vegas to drink himself to death.

There, he meets and forms an uneasy friendship and non-interference pact with prostitute Sera. Director: Mike Figgis. Available on Amazon. Added to Watchlist.

From metacritic. November's Top Streaming Picks. Helena og Matheo. Love Movies??? MyMovies: Year Use the HTML below. You must be a registered user to use the IMDb rating plugin.

July 7, Full Review…. September 7, Rating: A Full Review…. View All Critic Reviews Oct 10, The gist of this story is a beautiful fantasy: a romance founded on the worst of ourselves.

Nick Cage plays a alcoholic set on self-doom and Elisabeth Shue plays a prostitute with a singular will to her work, both character types exemplifying absolutely couple poison - and yet their relationship works despite those negatives.

And so the charm of the film. A destructive couple heading for destruction? And yet therein is the beauty, that love can exist in spite of the worst of us.

Cage single-mindedly pursues his objective without distraction, without pause, but Shue is a wonder as a soul who fully accepts her life choices but love gives her to wonder about those decisions.

It's a new age noir in its way, worthy of a look at least, and certainly love given time. Kevin M. W Super Reviewer. Apr 22, Why do so many people like this movie?

It's awful! To be fair to Nic Cage, his acting isn't bad, but he sure as hell didn't deserve to win an Oscar for his performance.

And the ending is probably one of the worst I've ever seen in a film. Do not see this piece of shit. Stephen S Super Reviewer.

Apr 17, An awfully bleak and depressing drama that doesn't offer us any door or way in to connect with a deplorable alcoholic who only wants to die and a pitiable prostitute in need of his love - and her interview scenes are just intrusive, unnecessary and heavy-handed like most of the script.

Carlos M Super Reviewer. Mar 27, They always say that what happens in Vegas stays in Vegas, but this time, what happens in Vegas is finally breaking out, baby.

Seriously though, Nicolas Cage is an alcoholic hanging out with a prostitute in Las Vegas, and that's No, that's all kinds of right, because something that crazy sounds like something that anyone would do in Vegas, as well as something along the lines of something that Cage would do anywhere.

Well, this was still enough of a stretch for Cage to get the man an Oscar, probably because the Academy didn't realize back in that he would kind of go on to squander the honor with plenty of real-life craziness, although that's not to say that I didn't still thoroughly enjoy Cage's performance.

I probably would have enjoyed it more if, he wasn't matched by Elizabeth Shue, not in this film, but in real-life right now. I presume Shue is herself something of an alcoholic, because while she's not turning out to be the big star she hoped she would be, Cage just keeps getting questionable work in which he does the same thing, only, you know, with much less acting material.

Wow, working a little harder really does seem to get Cage and, by extension, a film with Cage a pretty fair distance, though not so far that you can past the film's own issues.

In so many ways, the film tries so hard to be unique, so much so that it all of the overt efforts to freshen things up tend to overshadow familiarity, but not wholly, for although this particularly interpretation of formulaic subject matter has plenty of inspiration to it, it's hard to completely disregard certain tropes to storytelling and even characterization.

There's something a little too recognizable to the development of such characters as the eccentric alcoholic or the gold-hearted hooker, yet still not recognizable enough, as characterization and other forms of narrative development feel, not so much undercooked, but, if you will, uneven, underselling certain realist traits in order to thin out dynamicity to human depths, while overselling many histrionic traits in order to bloat romanticism.

In other words, underdevelopment limits the layers to the depth of the narrative, and histrionics make it even more difficult to buy into questionable character traits and melodramatic conflicts, so as a character study, in a lot of ways, this drama is pretty messy, at least when it comes to Mike Figgis' script.

Most every other aspect to the telling of this story is strong enough to thoroughly endear you to the questionably drawn melodrama, and really, even Figgis' script has a lot to it worth commending, maybe even praising, but characterization and dramatic depth remains thinned out, while other plotting elements go bloated, with excess material and meandering filler that quickly get to be repetitious, maybe even focused, particularly when the questionable story structuring devolves into being borderline abstractionist.

What is not all that talked about is the fact that this is actually something of an art drama that has plenty of substance, but still has a tendency to get carried away with artistry, expressed through anything from a near-ethereal atmosphere, near-trippy visuals and stylish filming and editing, to an offbeat, intentionally disjointed narrative style that would be easier to get over if it was more realized.

The film can't fully figure out the degree to which is utilizes its overblown artistic license, yet too often, that license is abused, maybe not to the point of plaguing the final product with a sense of pretense, but certainly to the point of having the final product get overambitious with its frantic storytelling style, thin characterization and melodrama, until finally collapsing as underwhelming.

If the film was to settle down its questionable moves, then it would have rewarded pretty thoroughly, maybe even stood out, yet take that comment as more reflective of just how inspired the strengths are in this frequently flawed art melodrama, including certain stylistic ones.

The drama thrives on style, and while storytelling style is often questionable, other forms of style are perhaps consistently impressive, with visual style delivering on plenty of nifty and dynamic shots, complimented by cinematography by Declan Quinn which has a certain grime that captures the drama's bleakness, while still containing enough polish to compliment the dazzle of a Vegas setting that is itself complimentary of the groovy coloration to the film's tone that is further sold by an excellent jazz, swing and classic pop soundtrack.

Yes, even musical style flavors things up, whether it feature the aforementioned lyrical tunes, or feature an original score by Mike Figgis that, I must say, is pretty outstanding, with tightly well-arranged jazzy compositions, as well as minimal classical pieces that are truly haunting, with a certain atmospheric warmth to it that transports you into the film's most effective moments as an art piece and drama.

Needless to say, it's Figgis' directorial orchestration which really sells style in the context of substance as much as it can, for although Figgis gets way too carried away as an artistic storyteller, when his efforts go realized, stylish meditativeness draws you into the environment which is pretty prominently played upon, especially when dramatic heights come into play, resonating through a tastefully tender play on the haunting visual and musical style.

Gritty, human and all around pretty profound in certain areas, this drama has moments - from moments of effectively sentimental breakthrough in the characters' personal and interactive shifts, to an admittedly disturbing final act - of realization to directorial storytelling that are often strong and sometimes downright outstanding, and while they're certainly few and far between in a final product that is generally kind of underwhelming, they still stand, reflecting what could have been a more solid interpretation of pretty solid subject matter.

A meditation upon refusal to abate from self-destruction during the building of a meaningful, but rocky relationship, this film takes on a worthy, if familiar story, and not especially well, at least when it comes to a script by Figgis that is unevenly characterized, melodramatic and overblown, structurally and stylistically, yet still has elements to it that drive the heart of this drama, through certain cleverness, as well as an audacious attention to graphic content, both vulgarly reflective of grimy themes, and intensely reflective of heavy drama.

There's a lot of ambition to this gritty drama, and although it's overblown to the point of being questionable, it begets certain inspiration in the offscreen performances, even if it's not as consistently effective as the onscreen performances, most every one of which is pretty solid, especially those by the leads, with the lovely Elisabeth Shue capturing the sense of frustration and revelation in a woman who finds a true connection with a human being she might not be able to tolerate watching fall apart, while leading man Nicolas Cage really stands out, not just with a trademark loony charisma that sells the over-the-top eccentricities of the Ben Sanderson character as well as it can, but with an startling anxiety to his physical and emotional acting that gives you a sense of mental and medical deterioration to a broken man looking to die as he lived: as an addict.

Cage's remarkable performance is utterly devastating in its raw intensity, and if you have any doubt about the man's abilities as an actor, this film is an essential viewing, and while I very much wish that I could say that the project is just that when you look at it as more than just a vehicle for phenomenal acting, rather than an uneven and dramatically and artistically overblown pseudo-mess of a melodrama, the moments of considerable inspiration are well worth waiting for, even if the moments between them require plenty of patience.

When it is, in fact, finally time to leave, conventions are the far from the biggest thing you have to worry about in storytelling which goes plagued with uneven characterization, melodrama, repetitious structural excess, and questionable and even disjointed abstractionism to artistry, until the final product fails to achieve a rewarding status that it comes close to achieving on the wings of the haunting cinematography, colorful song soundtrack, beautiful score and gritty story - brought to life by heartfelt direction, audacious writing and sensational performances, particularly the soaring one by Nicolas Cage - that secure "Leaving Las Vegas" as a compelling and sometimes powerful drama, despite only coming to the brink of rewarding.

Cameron J Super Reviewer. See all Audience reviews. Ben Sanderson: Interesting choice of words. Ben Sanderson: I'm like a prickly pear I'm a prickly pear!

Ben Sanderson: I don't know if my wife left me because of my drinking or I started drinking? Cause my wife left me. I'm In Love With You.

Ben Sanderson: I'll tell you, right now I'm in love with you. View All Quotes. Best Horror Movies. Worst Superhero Movies. Best Netflix Series and Shows.

Go back. More trailers. The A Word. No Score Yet. The Goldbergs. The Conners. Man at Bar Valeria Golino Terri Graham Beckel Bartender Albert Henderson Hispanic Prostitute Carey Lowell Bank Teller Anne Lange Business Colleague Thomas Kopache Simpson Vincent Ward Businessman 1 Lucinda Jenney Weird Woman French Stewart Businessman 2 Ed Lauter Mobster 3 Waldemar Kalinowski Mobster 2 Mike Figgis Mobster 1 David Kriegel Hotel Manager Bill Thompson Midwestern Man at Poolside Marek Stabrowski Pawn Shop Owner R.

Lee Ermey Conventioneer Mariska Hargitay Hooker at Bar Danny Huston Bartender 2 Laurie Metcalf Landlady David Brisbin Landlord Shawnee Smith

Facebooktwitterredditpinterestlinkedinmail

3 Kommentare

Dale · 31.08.2020 um 13:25

Es war und mit mir. Geben Sie wir werden diese Frage besprechen.

Schreibe einen Kommentar

Deine E-Mail-Adresse wird nicht veröffentlicht. Erforderliche Felder sind mit * markiert.