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To be honest, I thought I would grow quickly bored with this movie since I heard that all it was is a bunch of cool psychedelic effects and not much else. Well, I actually found it interesting. After an opening five minutes with some bad acting I rolled my eyes but the movie got better....and Peter Fonda's performance got better. Fonda plays Paul, a TV commercial director who goes on his first LSD trip. He thinks he might learn something from it and does. You start to lose track of what reality is just like Paul does. Dennis Hopper has some interesting scenes and Bruce Dern is good as well. Having never touched acid, I can't tell you how realistic the effects are but found them interesting to watch. In order to do research, director Roger Corman took LSD and had a pleasant experience. Bruce Dern however has never taken it so found his role as someone who was kind of an expert on the matter, a challenging acting job. However, Jack Nicolson wrote the script and I expect he did plenty of research...he-he. Surprisingly, a pretty cool movie, dude!

How can you not like this film? The cast is incredible, but most Roger Corman films have great casting as we all know. Peter Fonda, Bruce Dern, Salle Sachse, Dennis Hopper, Susan Strasberg, Dick Miller (Of course), Luana Anders, Peter Bogdanovich and written by Jack Nicholson!! Can you imagine what was going on during the filming of this? Wonderful hippie special effects as Fonda goes on his "Trip". And I truly enjoyed the soundtrack. Especially the theme song. If anyone knows how I can get a copy of the soundtrack, let me know. This film is a real curio and it reminds me of the old days when a bunch of young guys with very little money just went out and made a film. I don't think this film is endorsing LSD, but all that type of stuff was pretty new back then and this was just a film that was taking a chance. All those hippie type of movies are fun to watch and this one is certainly interesting!

This is an interesting film that will entertain. 'The Trip' has a 'Reefer Madness' quality to it, with a strange message about acid and it's effects.

Sets for this film have an expressionist imagery to them. The art direction is an explosion of patterns and colors. You get a psychedelic fun house feel all through the film. The use of lighting/shadows and old film techniques give a dreamy quality to the scenes that you will not forget.

Although dated by today's standards, the film is easy to watch and quite creative. And 'The Trip' does have a message: "I'll deal with it tomorrow."

Roger Corman, king of b-grade Science fiction, horror, juvenile delinquent and biker movies, tunes in, turns on, and helps create a classic piece of psychedelia. Scripted by Jack Nicholson, and co-starring his future 'Easy Rider' collaborators Peter Fonda and Dennis Hopper, as well as the always great Bruce Dern ('The Wild Angels', 'Bloody Mama', 'Silent Running'), the late Susan Strasberg (with Dern and Nicholson in 'Psych-Out' the following year - another psych classic), Corman regular Dick Miller ('A Bucket Of Blood',etc.), Luana Anders (Coppola and Corman's 'Dementia 13'), and even blink and you'll miss them cameos from Peter Bogdanovich and cosmic cowboy Gram Parsons.

Fonda plays a disillusioned director of TV commercials who decides to drop acid for the first time in the hope of finding some meaning in his life. Dern plays his guide. Fonda's trip includes stroboscopic lights, quasi-medieval scenes including dwarves and hooded horsemen, naked go-go dancers, fast cuts, and his own funeral. Apple juice and a visit to the laundromat also play quite significant roles. This is a must see for anyone interested in 60s pop culture, and is still one of the most entertaining psych movies. Take 'The Trip' or you'll regret it forever!

Paul Groves (Peter Fonda), a television commercial director, is in the midst of a personality crisis. His wife Sally (Susan Strasberg) has left him and he seeks the help of his friend John (Bruce Dern), a self-styled guru who's an advocate of LSD.

The film was directed by Corman, written by Jack Nicholson, starring Bruce Dern with a beard, Peter Fonda and Dennis Hopper. How can that be bad? The biggest problem is that the plot is relatively weak and relies heavily on some wild kaleidoscopic visuals. That may not be a problem -- I mean, there are still great actors and a dwarf -- but it is a noticeable flaw.

I'm not sure to recommend The Trip as a great look at the psychedelia times of the late 60s, and if it serves any purpose for today. It's now forty years (strange to think it's been that long), and it holds resonance only in that it could provide some with a look at how to do a really trashy art-film with no real moral code to identify, and for the nostalgia of the cast and writer of the project. Corman even admits on the DVD that he tried to take a neutral position to LSD for the audience, despite the opening warning, which was probably a given for the exploitation-nature of AIP at the time, and that Corman really didn't have too many bad things to say about his own trip when he tried LSD.

So the film only slightly gives an endorsement for the drug, but not really at the same time- on the one hand one might look at the initial reasoning for Peter Fonda's character Paul to take the drug, that it might open him up and that he might learn something about himself. On the other hand, one might also question as to whether or not complete distortion of reality, insane montages, figures in black cloaks riding on horses, and moments of death coupled with paranoia and occasional sexual joys all colored in psychedelia is worth it.

In a way, Corman still has a little of the horror aspects of his 60s Edgar Allan Poe pictures running through here, only through a Tim Leary sensibility. But it's also Corman trying something new, and through a screenwriter, Jack Nicholson, who had taken the drug quite a number of times by then (having read bits of Nicholson's biography, and just looking at his work at this time period, culminating to Easy Rider, shows how much Nicholson was into this culture and time in America). But there's something else too that's intriguing, which is the personal connection of Nicholson's marriage, divorce, and sexual appetite working it's way into the film.

They're really some of the best scenes in the film, where ambiguity is worked in with Fonda's severed relationship with his soon to be divorced ex, and how this comes into a big part of his trip (we see some overtly f****-ed up sex scenes, with manic lighting effects and special post-production work included by the great Allan Daviau). Another very fine scene with a darkly comic touch comes when Fonda, wandering a California city after his guide (Bruce Dern, with an awesome beard) loses him, wanders into a laundromat and nearly gets freaky with either/or the woman waiting for her laundry, or the laundry itself.

Actually, most of the Trip is freaky, and usually in that quick, cheap Roger Corman style that ends up working more to its advantage than I figured at first. Surrealism, to be sure, isn't really Corman's forte, but he does what he can with making this a whacked-out look at LSD. It's a drug I've never taken, so I can't say whether the film comes close to what an actual 'trip' is really like or not. And this causes sort of a problem for most to watch the film- it captures a 'side' to what a trip must be like, and all in the space of the picture's 80 minute running time. It also ends on a pretty inconclusive note following too much random montage and clips back to earlier in the film (as Paul is supposed to be coming down off the drug). But it was a lot of fun, as mentioned, in a trashy way to see how Corman and Nicholson decided to approach a lot of the hallucinations and visions. Obvious maybe, sure, but the tongue-in-cheek is also shown in a light of this being not too far from being how a trip might actually take hold.

And there are two sides to the interest of this trip in Corman's style, how he goes from his standard set-ups in a scene with dialog, like when Paul goes into a random house and gets milk for a little girl, or when Paul first gets into the city and (under fantastic 2nd unit shooting by Dennis Hopper, who also is great as a guru type stoner) we see everything becoming wild and choppy and with music that goes oddly jazzy.

The Trip is a capsule that only somewhat delivers a good enough look into the drug community, and more so into the psychology of its writer (who probably took on escapism and promiscuity at the time), and of the chances the filmmaker wanted to take with the subject matter. Far from being really sensational, and it gets nowhere near 2001: A Space Odyssey for visual virtuosity or Easy Rider for a more potent look at the culture and at subjective surrealism. But it's some good fun, and the whole AIP gang made such ambitious collages of items to see and with a delirious Fonda performance that it doesn't out-run its welcome. Cool music by the American Band too.

Unapologetic rendering of an acid trip, told without much melodrama and a great deal of nervy style. A square television director (Peter Fonda, trying his best to look like a nerd in a V-neck sweater that would do father Henry proud!) takes LSD and drops out. Screenplay (by Jack Nicholson!) certainly cuts right to the chase--no pussyfooting about here--but there's no story to tell. The film is less an essay on the drug culture than it is a chance for director Roger Corman to get "freaky". In a way, this is an early precursor to "Easy Rider", but it was made by a lot of talented people all with bigger fish to fry. ** from ****

There are many Roger Corman movies that one can think that they were possible to make under influence of drugs, but in this case Roger Corman actually took LSD as a research for 'The Trip'. Cheesy and occasionally (unintentionally) funny, 'The Trip' remains as one of the trippiest movies ever. The film is shallow by story wise - television commercial director (Peter Fonda) decides to drop acid first time and discovers some things about himself. That's it. A guys first acid trip. And then we seem him taking psychedelic road through colorful hallucinations accompanied with experimental rock and jazz music.

'The Trip' is bizarre little film about drug usage. Although there is a warning at the beginning of the film that condemn drugs, but the film itself actually don't give any judgment on the matter. It doesn't have much plot and Peter Fonda still hasn't got his acting game together but the film is still entertaining mostly thanks to its visuals and humor. The high point of the film is when Peter Fonda's character is facing the judge who is played non other than magnificent Dennis Hopper. And all this was written by Jack Nicholson.

Recommended to anyone who like plotless but visually striking movies.

Great cast, although Fonda wasn't cool yet (acting-wise) about LSD and "drugs & hippies & all that stuff", but Hopper is interesting and this trippy flicks rolls down the valley without too much effort (penned by Jack Nicholson). Nothing wrong with this one a budget wouldn't have cured in '67. Along the same lines as the WILD ANGELS (biker flick) "exploitation film" (Corman), but not insulting, or even pandering, but more trying to grab on without really reaching (film-wise), and a joy to see nowadays (and it's not pro-drugs or anything), even for the time.

Best performance = Dennis Hopper. Don['t sell it short if you were born before Chuck Berry and Elvis started Rock 'N Roll or you will wonder!

Peter Fonda plays uptight twenty-something TV commercial director Paul Groves. Paul is successful at his work, but it becomes clear (later, during one of his drug-induced reveries) that he has decided ambivalence about using his artistic talents for such work, contributing as it does to a superficial consumerist culture. Paul has flirted with the fringes of the mid- to late-'60s LA hippie counterculture, smoking weed and using 'hip' terminology like 'boppers' and 'groovy,' but it's clear from his diffident and brittle demeanor, his square, preppy clothes (dress shirt, khakis, red v-necked sweater: he could have been a Harvard eating club member circa 1958), and his tentative ways in interacting with friends and women that he's about as hip and cool as Ozzie and Harriett at a human be-in. Further evidence of his discomfort with his current life is his relationship with his adulterous wife Sally (Susan Strasberg) who, it is implied, has had relations with other men because she can find nothing authentic in her husband, the very model of the modern TV commercial director. The marriage is heading for divorce at the film's outset, unsurprisingly.

So one day in this, his life, Paul decides to take a deeper look into himself (pedantic aside: the word "psychedelic" is from the Greek etymons for "soul" and "revealing") by taking his first LSD trip under the guidance of his much more well-centered friend John (Bruce Dern), the drug being acquired from their friendly neighborhood weed dealer, Max (Dennis Hopper). Also cropping up at various points in the story is a beautiful, somewhat enigmatic blonde hippie girl in a white pantsuit who has expressed a curiosity in people who take acid. This is Glenn, played by bikini-beach-movie veteran Salli Sachse. Both Glenn and Sally (remember her? Paul's wife) appear episodically in Paul's acid-fueled visions.

Not much happens narratively: Paul takes acid, Paul has a few brushes with the law while tripping unsupervised through the 1967 Sunset Strip night, Paul concludes his trip with an intimate encounter, Paul is asked if he found the insight he was hoping for and gives his reply. Woven through this story are his reveries, some frightening, some comical, several absurd, all of them visually colorful. The psychedelically-tinged jazz/blues/rock score by "An American Music Band," the horn-plus-traditional-rock-instrumentation band the Electric Flag, is mostly appealing and was composed (by EF founding guitarist Mike Bloomfield, previously of the Paul Butterfield Blues Band and later of 'Super Session' fame with Stephen Stills and Al Kooper) and recorded in a matter of a few weeks. Roger Corman, whose status as king of the B movies merely meant that he was very skilled at turning out compelling and entertaining movies working with small budgets and tight shooting schedules, is in fine directorial control, working from a script he commissioned from Jack Nicholson (yes, THAT Jack Nicholson, who does not appear on screen in the movie). And Corman and company accomplish the entire movie excursion in under 80 minutes of screen time.

An interesting note is that Fonda, whose public image was one of cool and self-contained serenity in contrast to Hopper's more histrionic screen persona in the subsequent "Easy Rider" and other movies, in this film plays a man who is not in control at all and is prone to paranoid episodes and moments of panic, while the other principals (Dern, Hopper, Strasberg, Sachse) are calm and collected.

Favorite scenes: Paul's imagined 'trial' for unhipness and inauthenticity with Max (Hopper) as judge/inquisitor, complete with a merry-go-round, waltz-time carnival music, and a merry-go-round horse-riding dwarf shouting 'Bay of Pigs' for no discernible reason; his encounter with a girl in curlers doing her laundry at a laundromat on the Strip; and his interaction with a sarcastic, seen-it-all cocktail waitress in a music club.

This is a rather odd movie, which is understandable to anyone who has taken hallucinogens. There is no way to explain an LSD, Magic Mushroom, or Peyote trip to anyone who has not had one. Words do not suffice. Pictures do not suffice. How do you explain seeing sound, or smelling colors? You can't.

This movie gives it a try and does the best it can, but to all those that see it and have never been tripping, I'm sure it looks like a painting done by a monkey. You just can't put these thoughts on film. Example: One time, in the mid-70's, I took acid with a group of friends. All of a sudden a purple tornado came out of the ceiling and ravaged the room, sucking the emotional content out of everyone there. Now just how do you display that on film? Nicholson, Corman, Fonda, Hopper, and company give it a shot, but it really can't be done. Not then, not now, with all the digital effects available. Valiant effort though, but probably only entertaining to people who know what frying means.

I originally became interested in finding this film due to my introduction and interest in the soundtrack. The music is performed by the late 60's self-proclaimed "American Music Band" known most often as THE ELECTRIC FLAG... A life-long fan of the somewhat psychadelic (as heard in THE TRIP), but more over horn/blues/rock band, the recording of THE TRIP that I first heard on a roadtrip to California (how fitting) is what sparked my search for a copy of THE TRIP.

I must say that the backwards line of hearing the music first and THEN seeing the film, caused me to have vague (but passionate!) expectations of what would be contained in the film. Yes, a "typical" portrayal of the late 60's acid/drug scene some might say, but I beg to differ. The film is about a man (Peter Fonda) who is distrought with life and looks for an answer through acid. The trippy, psychadelic scenes to follow make for a colorful kaleidescope of imagery and that, if nothing else, is a treat for the eyes! But later - dark, bleak scenes of medieval death contrast with a looming carnival funhouse feel. Through ecstatic highs and eerie lows, Fonda manages to come out of the trip with a new perspective - what he had hoped

for in the first place. But here is where one may say there really was no plot and in the end there was no lesson either. But, once again, I beg to differ. I enjoy delving deep into what seems to be merely innocent and aesthetic on the outside, and searching for what seems hidden amongst clowns on the inside. In the end, I got more than one message from the film, but I will let you, the viewer, decide for yourself what (if anything) you got from it. There, of course, is no wrong answer.

Having never (unfortunately) gotten the chance to live during that era, my curiosity is peaked and sometimes calmed by exposing myself to all that surrounded or grew from that era - be it music, poetry, film, literature or what have you. And though I can't proclaim to tell you that you will like or dislike the film, I can really only recommend for you to check it out. Because it is entertaining. Because it is superb filming. Because it is an early music video. Because it has a great American soundtrack. Because it is history. Because it it another time we can now only remember. Because it is one man's tribute to the often misunderstood era of peace, drugs, and a more innocent way of life. Because it is America... and because it made me come away with a new thought, and new ideas in my head, and if thats not something, I don't know what is. Thanks for reading.

Peter Fonda plays Paul Groves, a TV commercial director going through a personal crisis. His wife Sally (Susan Strasberg) is asking for a divorce. So he calls upon a psychologist friend, John (Bruce Dern), who's recording the LSD trips of his subjects. In the effort to mellow out, Paul takes some LSD himself. Little does he know just how WEIRD the experience is going to be.

Don't look for a whole lot of story here, in this counterculture favourite produced & directed by B movie king Roger Corman, and boasting a screenplay by none other than Jack Nicholson. It's not so hot as a movie, but it IS a modestly amusing experiment to simulate an LSD trip on film for approximately 80 minutes. Of course, it doesn't even need to go on THAT long; the point is made early on, and the initial entertainment value of gazing at these surreal images and psychedelic effects does wear off. Still, this does have an appropriately "trippy" atmosphere, created during an era when experimenting with mind bending substances was one of the hip things to do.

The performances are generally agreeable, with Dennis Hopper the perfect choice for playing Max. The landscape is dotted with appearances by people like Peter Bogdanovich, Michael Nader, Michael Blodgett, Tom Signorelli, and Corman regulars such as Barboura Morris, Luana Anders, Beach Dickerson, and Dick Miller.

Cinematographer Allen Daviau ("E.T.") was one of those producing the psychedelic effects. The D.P. on this flick was Archie R. Dalzell, who does a decent job. And there's a groovy rock score by Electric Flag.

The distributors didn't want the film to be seen as pro-LSD, resulting in a particular image of Fonda near the end that was added against Cormans' wishes.

Six out of 10.

STAR RATING: ***** Saturday Night **** Friday Night *** Friday Morning ** Sunday Night * Monday Morning

Paul (Peter Fornda) is a TV commercial director going through a bitter divorce with his wife. Dejected and disillusioned, he decides to experiment with LSD and has his close friend John (Bruce Dern) take the 'trip' with him. He spends the next few hours seeing beautiful colours and patterns, becoming more enlightened and self-aware, in between getting freaked out and confused in a terrifying nightmare world he has no control over.

Buying this film for £15.99 left me in a bit of a predicament. With the money I spent buying it, I could just as easily have brought some acid tabs and seen what LSD was like firsthand. But I found it uncertain and unpredictable to approach and decided to give this film a go just to see what it might be like. In fact, this is the reason it's been banned for so many years (never even saw the reels of a video cassette, I'd imagine) despite not containing anything overly unsuitable in the material. It just seemed like one big long endorsement of LSD to some and I can see how they might have thought this.

The film plays just like this, one long example of what an acid trip might be like. It does this very well, unfortunately it comes at the expense of the film having much in the way of an established storyline, character development or any of the usual ingredients that generally make a very good film. But it has a nice soundtrack, some quite funny moments and you gotta love those groovy visuals and hallucinogenic effects. Must ring my dealer next weekend. ***

This is a classic exploitation film that inspired a ton of imitation "acid films", most of them having no plot and lots of the same imagery you see here (complete with naked females and zooms). "The Trip" definitely has more direction and structure than it's spinoffs, yet one would still hope for more story development in the early half of the film. Clearly, Corman's savvy was able to get away with putting lots of cheap effects on the screen, thus stretching a 30 minute plot into an 85 minute feature.

Much of the film is full of various imagery of Peter Fonda running around in different costumes, in different strange places, and very little is told about his real character. He is a rather passive character in this film, and doesn't elicit much sympathy from the audience, even though his performances were satisfactory. The cinematography is quite uninspired, even if adequate from a techical POV, though it has some fine point gaffes (like double shadows). One of the most frustrating aspects of this film is that the potential it had for visual treatment was not used to nearly it's full potential, even on the budget it was made for.

With the exception of the flash cuts editing, stylistically this film bears a more conservative filmmaking approach that might have not been as appropriate as a more "new wave" approach. Indeed, two years later, Peter Fonda and Dennis Hopper were to take elements of "The Trip", and the earlier "Wild Angels", combining them with the 'new wave' style of filmmaking to produce the masterpiece "Easy Rider".

For all it's shortcomings, "The Trip" did very well at the box office, something that would not have happened today without much more expensive effects, and more known cast members (even though Fonda, Strassberg and Dern were known faces at the time).

Roger Corman did very well with this "drug film". "The Trip" makes very good sense. Jack Nicholson did an excellent job as a writer for this film as well. Peter Fonda plays Paul, an TV commercial director who has some issues to come with. His wife(Susan Strausberg) is divorcing him because she is downright unfaithful. He would later meet with John(Bruce Dern) who would help him cope, with LSD. Once he has taken it, Paul's world would never be the same. He wouldn't touch anything else when he was at Max's(Dennis Hopper) pad. The tripping out was so intense, he would see things he could never imagine. The strange characters consists of a dwarf, hooded characters, a cackling witch, and women in all sorts. Along with the different strobes of lights, the acts of sex comes to play as well. The wife and other women is so intentionally bold, who would want to think of anything else. Tripping out was big in the 1960's, was also the scariest , Paul would imagine he has found John dead in which he wasn't. He would also think the police was after him following the entry of the little girl's house or the incident at the laundromat. At the end of the trip, he would find himself happy with another woman. What more could you ask for? Going out can exhilarating, but most can get a little overboard, this is indeed far out! 4 out of 5 stars

This movie is very dated and even at the time it was an exploitation flick, but it still is really funny. Roger Corman doesn't get enough credit. His movies were very well done with the budgets he had available. Also check out the beard that Bruce Dern sports in the movie, he looks like Grizly Adams.

This is a film where the conflicting intents of the creative agents behind it really jar the viewer's sensibilities.

Fonda, Hopper, and Nicholson wanted to make an arty film favorably depicting an acid trip (they would explore this more fully - and more maturely - in "Easy Rider"). Roger Corman wanted to make a flat out exploitation film, pure and simple (the sex scenes are the best he ever did). Montage editor Dennis Jakob was given free reign and borrows heavily from the work of underground film maker Kenneth Anger (esp. the ruggedly nihilistic/narcissistic "Scorpio Rising"). You can't get three more opposed aesthetics at work. And this film is the result.

Had any of these three intents been allowed to dominate a film of half the length, any one of them could have produced a work of genius. However, meld them all together for nearly 90 minutes and you have a "WTF IS THAT?!" Ridiculous, pretentious symbolism (it's all Christ or hell or television), ridiculous dialog ("Don't make demands on my head, man!"), ridiculous sense of self-importance (our hero in an electric chair - what is he guilty of? "the Bay of Pigs!" shouts the Victorian dwarf on the carousel). Information overload when young people still thought a lot of information mattered. And of course, as so many have noted - no discernible plot whatsoever.

And all that "psychedelic" "art!" Save me, save me!

Originally intended as opener for a double bill with an AIP Hell's Angels biker flick. Probably should have stayed there, but prudes took offense at the flashes of female nudity, so it gained some notoriety, and then a cult audience that allowed Fonda, Hopper, and Nicholson to go on to other projects. Corman did more biker flicks. Jacob would disappear for a while, then resurface as editorial consultant for "Apocalypse Now," "the Doors," and "Koyaanisqatsi." What a long, strange trip it's been.

Well, good for a few laughs, but drags too often. Best scene - the laundromat. The woman doing her sheets makes more sense than the rest of the cast combined.

The movie "The Trip" starts off with a warning to the audience about the dangers of using hallucinogenic drugs like those in the film and ends it's message with this chilling statement: "This picture represents a shocking commentary on a prevalent trend of our time and one that must be of great concern to us all". The film "The Trip" does then honestly and accurately stick to it's warning and shows what mind-bending drugs like LSD could do to a persons mind as well as body when he or she are exposed to it.

TV Commercial director Paul Grove, Peter Fonda, is going through a depressing time with him and his wife Sally, Susan Strasberg, on the out's and about to get a divorce. Needing something to settle him down and get him out of his depression that's effecting both his work and social life Paul gets in touch with a hippie friend of his Max, Dennis Hooper. Max has him put under the care of John ,Bruce Dern an LSD expert to get Paul ready and into a state of euphoria and thus rid his mind of all the awful thoughts that are swirling around in it.

Paul after relaxing by smoking a joint is given a powerful LSD tablet and he slowly goes under and on a trip that last the entire movie with his mind exploding into a kaleidoscope of colors as well as bringing out to the surface his personal insecurities, that he kept well hidden in his brain. The LSD trip turns his most pleasurable fantasies into a bevy of paranoid hallucinations that leads him to almost go insane.

You, as well as Paul, never know for sure if Paul is dreaming or is actually going through the events in the movie. Later when John, who's supposed to be with him at all times unexpectedly fades from the scene and the poor man is left on his own running through the streets from one mind-twisting scene to the next. With all this going on you then begin to wonder if he's dreaming or actually living and suffering through them. These scenes in the movie may well have all been the result of Paul's flipped out mind conjuring up all these weird things. We also see John with a bullet hole in his head after he left Paul out of his sight for not more then a minute.

Running from the police through a number night clubs and Go-Go bars Paul runs into Glenn, Salli Sachse, a young Hippie, whom he earlier met at Max's place. Genn then takes him home where after a night of heavy action he seemed to have recovered from his "trip" into Never Never Land and is ready to face the world a new man with all his problems that he had before he "tripped out" on acid behind him. Not really that much of a story but the scenes of Paul going out of his mind and the colors and strobe-like effects of his brain being taken over by the LSD tablet is more then enough reason to watch the film.