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O jornalista americano Paul Kemp aceita um trabalho como independente em Porto Rico para um jornal local durante os anos 60 e luta para encontrar um equilíbrio entre a cultura da ilha e os e... Ler tudoO jornalista americano Paul Kemp aceita um trabalho como independente em Porto Rico para um jornal local durante os anos 60 e luta para encontrar um equilíbrio entre a cultura da ilha e os expatriados que lá vivem.O jornalista americano Paul Kemp aceita um trabalho como independente em Porto Rico para um jornal local durante os anos 60 e luta para encontrar um equilíbrio entre a cultura da ilha e os expatriados que lá vivem.
- Prêmios
- 2 vitórias e 4 indicações no total
Julio Ramos Velez
- Intruder
- (as Julio Ramos)
Rafael Alvarez
- Taxi Driver
- (as Rafa Alvarez)
- Direção
- Roteiristas
- Elenco e equipe completos
- Produção, bilheteria e muito mais no IMDbPro
Enredo
Você sabia?
- CuriosidadesJohnny Depp and ex-wife Amber Heard first met while making this film. They became a couple in 2012 after Depp separated from his longtime girlfriend Vanessa Paradis, were married in February 2015, separated in May 2016 and officially divorced in January 2017, after a very public court battle, which was reignited in 2019 when Depp sued Heard for defamation.
- Erros de gravaçãoWhen Kemp drives the Corvette along the coast, as the camera pans the car and roadway from above, a cellular telephone tower appears in the shot.
- ConexõesFeatured in The Tonight Show with Jay Leno: Episode #20.16 (2011)
- Trilhas sonorasVolare (Nel Blu Dipinto De Blue)
Written by Domenico Modugno, Franco Migliacci and Mitchell Parish
Performed by Dean Martin
Courtesy of Capitol Records, Inc.
Under license from EMI Film & Television Music
Avaliação em destaque
The film begins with main character Paul Kemp (Johnny Depp) waking up in a luxurious hotel room in Puerto Rico after a heavy night of drinking. After chomping down a few aspirin, Kemp stumbles into the editors office of the San Juan Star and is given a dead end writing job. After a few chance encounters, Kemp becomes the center of intrigue and corruption while consuming copious amounts of alcohol.
"The Rum Diary" was originally a novella from the twisted mind of Hunter S. Thompson an eccentric journalist and novelist who in addition to smoking, snorting, injecting, drinking every drug, alcohol and carcinogen known to man, managed to change the face of journalism by calling it as he sees it. His writing can repel and enchant with equal measure and has a breakneck spontaneity which is rivaled by its frazzled incoherency.
Incoherency would be the best word to describe this film. The story lacks any kind of focus jumping from a love story, a corrupt land deal, drunken antics, workplace politics and racial tensions. Watching "The Rum Diary" was like talking to a drunk grad student; little flashes of genius may linger but after what seems like four hours you realize you're talking to a drunken idiot and looking for the door.
Thompson's other work adapted to screen shares a similar inconsistency but say what you will about "Fear and Loathing in Las Vegas" at least it was interesting. Director Bruce Robinson seems unsure behind the camera trying desperately to balance themes and while Terry Gilliam threw spaghetti at the wall to see what sticks, Robinson compensates by drawing out its screen time and keeping the camera-work and editing as dull and uninspiring as possible.
The films only saving grace is the inclusion of Giovanni Ribisi as a cirrhosis addled, syphilitic cohort who takes LSD while listening to records of Nazi propaganda. His arguments with the Star's head editor (Richard Jenkins) provide some of the few precious moments of humor.
The epilogue appears while Johnny Depp sails into the horizon explaining that while its the end of the story "...its the beginning of another." I would have liked to have seen the other story. At least by then the sardonic wit of Thompson was finally present.
http://theyservepopcorninhell.blogspot.com/
"The Rum Diary" was originally a novella from the twisted mind of Hunter S. Thompson an eccentric journalist and novelist who in addition to smoking, snorting, injecting, drinking every drug, alcohol and carcinogen known to man, managed to change the face of journalism by calling it as he sees it. His writing can repel and enchant with equal measure and has a breakneck spontaneity which is rivaled by its frazzled incoherency.
Incoherency would be the best word to describe this film. The story lacks any kind of focus jumping from a love story, a corrupt land deal, drunken antics, workplace politics and racial tensions. Watching "The Rum Diary" was like talking to a drunk grad student; little flashes of genius may linger but after what seems like four hours you realize you're talking to a drunken idiot and looking for the door.
Thompson's other work adapted to screen shares a similar inconsistency but say what you will about "Fear and Loathing in Las Vegas" at least it was interesting. Director Bruce Robinson seems unsure behind the camera trying desperately to balance themes and while Terry Gilliam threw spaghetti at the wall to see what sticks, Robinson compensates by drawing out its screen time and keeping the camera-work and editing as dull and uninspiring as possible.
The films only saving grace is the inclusion of Giovanni Ribisi as a cirrhosis addled, syphilitic cohort who takes LSD while listening to records of Nazi propaganda. His arguments with the Star's head editor (Richard Jenkins) provide some of the few precious moments of humor.
The epilogue appears while Johnny Depp sails into the horizon explaining that while its the end of the story "...its the beginning of another." I would have liked to have seen the other story. At least by then the sardonic wit of Thompson was finally present.
http://theyservepopcorninhell.blogspot.com/
- bkrauser-81-311064
- 27 de out. de 2011
- Link permanente
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Detalhes
- Data de lançamento
- Países de origem
- Centrais de atendimento oficiais
- Idiomas
- Também conhecido como
- The Rum Diary
- Locações de filme
- Vega Baja, Porto Rico(Cockfight scenes)
- Empresas de produção
- Consulte mais créditos da empresa na IMDbPro
Bilheteria
- Orçamento
- US$ 45.000.000 (estimativa)
- Faturamento bruto nos EUA e Canadá
- US$ 13.109.815
- Fim de semana de estreia nos EUA e Canadá
- US$ 5.135.369
- 30 de out. de 2011
- Faturamento bruto mundial
- US$ 30.134.958
- Tempo de duração1 hora 59 minutos
- Cor
- Mixagem de som
- Proporção
- 1.85 : 1
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