Film opinion: Las Vegas films are fundamental pillars in the art of cinema

Arguably, the multiple genres at play in Las Vegas set films truly exploded into world-renowned notoriety and iconic status across the 90s and early 2000s film era. 

Vegas was the perfect launch platform to galvanise the hybrid film genre upon its then impending success, with many of those films imprinted in the minds of film heads everywhere.

Film News Blitz’s Aidan Leo presents some of his favourite Vegas-related films that found global and critical success through its genre blending.

Vegas is synonymous with film genre blending

Synonymous with its blending of comedy to drama, to romance and crime, Vegas-film has situated itself atop a perch observing the various stylistic successes it has achieved across multiple decades.

Classic features such as Hangover (2009) explore the chaotic, comedic, and mischievous hyperbolic behaviour that is prevalent on any given night in the historic, intoxicating city.

Whereas the more notable genre that rose the Vegas-film medium to notoriety as well as box office and cult status appeal, was the crime and heist film genres.

From the city’s most classic feature, Casino (1995) to ones that have grown in stature over the years such as Ocean’s Eleven (2001) and 21 (2008).

The drama genre has also added to the credibility and emotional complexity that Vegas-film added to its adapted genre, whereby Fear and Loathing in Las Vegas (1998) and Indecent Proposal (1993) are indicative of this.

READ MORE: Film analysis: How expository dialogue in ‘Casino Royale’ clues in the audience

Furthermore, Vegas’ cultural appeal is widely recognised for its romantic undertones, including the eccentric and more hyperbolic tales, namely What Happens in Vegas (2008) or the heartfelt and occasionally unorthodox stories, such as Salma Hayek’s Fools Rush In (1997)

Emerging as an enhancement and development on the crime genre, was the suspense, mystery and jeopardy that only the thriller genre could offer.

Notably, Smokin’ Aces (2006) and Now You See Me (2013) really aid the amplification of the enthralling depiction of crime. 

Let’s reflect on some of these iconic films.

Casino (1995)

One of director Martin Scorsese’s most iconic projects follows two close friends and compatriots, Sam ‘Ace’ Rothstein (Robert De Niro) and Nicky Santoro (Joe Pesci) 

Their Mafia links and criminal exploits at the behest of the Mafia make for the central construction of the plot along with the integration of alluring hustler, Ginger McKenna (Sharon Stone), with the fictional Tangiers (The Riviera) hotel and casino in Vegas the primary location.

The feature ticks all the boxes of a Vegas crime film.

Scorsese’s fingerprints are all over this one with vivid editing techniques and prolonged storytelling that fans of the genre look to when discussing what a three-hour long film should be.

The film’s compelling and dynamic performances from its frontline stars, the way in which the enchanting aura of Vegas is depicted, and the use of multiple golden-age musical genres and artists to propel the soundtrack list, illuminates the feature’s most climactic moments that certainly resonate with fans to this day.

And of course, the utilisation of other iconic mementos and trademarks of Scorsese and other historic directors synonymous with the gangster film subgenre was notably evident in the way the feature dealt with the ecstasy and detriment that comes with criminally forged power and influence.

Ocean’s Eleven (2001)

A remake of the 1960 feature of the same name, Steven Soderbergh’s Ocean’s Eleven truly propelled the heist film genre to new heights in the way that it engaged a variety of fans of all types of film genres.

An ensemble cast lead by George Clooney’s Danny Ocean and Brad Pitt’s Rusty Ryan, see the pair recruit old friends from their conmen exploits, to execute an all-time heist of three high-end Vegas casinos owned by the cunning Terry Benedict (Andy Garcia) who Ocean despises for ‘stealing his wife’ Tess (Julia Roberts) and for reasons initially undisclosed to the viewer.

Though, as is alluded to later in the film and trilogy, Benedict made suspect and unethical dealings to obtain his power and wealth, and Ocean being ever-present in the world of crime, would have knowledge of the way Benedict conducts his business.

Furthermore, Ocean seeking revenge versus how far he is willing to go to achieve it is the key plotline of the film.

He juggles going to lengths that may put his friends and compatriots on the job at risk, and the heist itself just to reach his goal. This is the lingering conflict throughout the film.

The feature in many ways reignited the ‘conman, ragtag crew’ who all excel in different kinds of robbery.

It does so without any distinct violence or graphic moments that we tend to be subjected to over the last decade.

The early 2000s film is charming in that way, whereby it is able to engage audiences without forcing action sequences to substitute bad acting and dialogue.

That in particular is why I’m so fond of the film and its trilogy, and it will be an ever-present on my list of heist film favourites.

Fear and Loathing in Las Vegas (1998)

A candidly chaotic and eccentric drug trip gone off the rails follows journalist Raoul Duke (Johnny Depp), his lawyer Dr. Gonzo (Benicio Del Toro) and their awe-inspiring ‘free-spirited’ trip, literal and hallucinogenic, to Vegas to cover a motorcycle race.

‘Pleasure over work’ ensues and the drug-induced chaos hits a breaking point from the middle to the latter stages of the film.

The film is very much a cinematic trailblazer of its kind, as it relates to the cinematography techniques that cinematographer Nicola Pecorini (American Moon) utilized in his depiction of drug-related hallucinations and trips.

Through unconventional camera work, distorted shot selection, and twisted colour dynamic, director Terry Gilliam powered the film’s shocking third-person imagery from the viewer’s perspective.

In addition to the make-up team correlating the acid trips in the film with the visual potency of the state and appearance we see the main characters in, Duke finds himself on a constant monologue throughout the film, haphazardly documenting the events he is experiencing, acting as an unreliable narrator.

By the film’s conclusion, it is unclear as to what exactly was true or over sensationalised.

Additionally, the feature delivers undertones of political commentary on the ‘American Dream’, manic and disturbing character portrayals but never not entertaining, topped off by a grungy, mind-bending aesthetic that cult film lovers have grown to vastly appreciate.

Hangover (2009)

A film and trilogy that developed into a progressively more unhinged experience began with a simple, four-man bachelor party trip to Vegas.

The film’s early events act as a prelude two days prior to the wedding of Doug (Justin Bartha) who is initially hesitant but is later convinced to go ‘all out’ by his groomsman Phil (Bradley Cooper) on their trip in Vegas.

Similarly, fellow groomsman Stu (Ed Helms) was also tentative about over-indulging on their trip, but later comes around to it.

Little did they know, Doug’s wife-to-be’s unstable brother Alan (Zach Galifianakis) has devious intentions for them on their bachelor party excursion.

A messy, tumultuous hilarity ensues which blossoms into a Vegas comedic staple.

The trope of characters attempting to revive their memories of the night prior, was crafted to perfection.

The film’s characters’ chemistry, timeless quotable moments and unlimited ludicrousness is what has propelled the feature to our unconscious association of comedy and Vegas, to Hangover.

Now You See Me (2013)

You cannot mention Vegas films without acknowledging this ‘magician, heist and casino’ blended classic.

Occurrences in the film are inherently unexpected, flashy, witty, and a particularly wild whirlwind fueled by the protagonists, The Four Horsemen.

The characters, each of a different skill set and ‘magician’ profile, employ unanticipated and non-violent tactics to execute convoluted heists adding a dramatization of the events that you would not find in most heist films.

The film feels like a totally elaborate magic show, constantly misleading you as soon as you get closer to uncovering the mystery of a particular scene or development.

“The closer you think you are, the less you'll actually see” as the film’s tagline and catchphrase would indicate.

YOU MAY ALSO LIKE: TV news: HBO reveal confirmed cast members for upcoming ‘Harry Potter’ series

The feature possesses a strong frontline cast including Jesse Eisenberg, Woody Harrelson, Mark Ruffalo, Morgan Freeman, Michael Caine, Dave Franco, and Isla Fisher.

No shortage of utter star power that is for sure.

The way in which the film is shot and edited creates an atmospheric, authentic and stimulating performance, perfectly suited to a ‘magician-heist’ film.

The feature tackles themes of corruption, misuse of power by immoral, influential people, and the ways media can manipulate perception to achieve outcomes that suit particular narratives and agendas.

The Four Horsemen adopt those very methods to challenge the powers at be, making them the antithesis to the norm and expected narrative the public are expected to popularise and enforce on one another.

A truly nuanced and positively complex film that can be appreciated on a deeper or surface level, with Vegas at its centre.

Vegas-film is a special subgenre that needs to be cherished and protected

From cultural symbolism to everlasting narrative archetypes, to the compelling theme of escapism.

This is what closely bonds the city to filmmaking and visual storytelling.

Let alone the ‘literal’ elements so-to-speak, namely the timeless, dynamic visuals and backdrops and perpetual selling point of the city’s wonders.

That being, ‘Vegas is where you go to be whoever you want to be in the time that you are there.’

Vegas-films represent this. And this is what all film lovers should hold dear.

And remember… 

What happens in Vegas, stays in Vegas.

Or as Gonzo would say, “We can't stop here, this is bat country!”.

READ NEXT: Film news: Iraq War veteran describes making Alex Garland's ‘Warfare’ as ‘therapeutic’