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Manufacturer Description

Primarily based on the novel by Hunter S. Thompson, The Rum Diary, follows itinerant journalist Paul Kemp (Johnny Depp) on an alcohol-fueled journey throughout the pristine island of Puerto Rico. Adopting the rum-soaked daily life of the island, Paul soon becomes obsessed with Chenault (Amber Observed) the wildly attractive fiancée of Sanderson (Aaron Eckhart), an American businessman concerned in shady advancement specials. When Kemp is recruited by Sanderson to write favorably about his most up-to-date unsavory scheme, the journalist is offered with a decision: to use his phrases for the corrupt businessman’s financial advantage or use them to take him down.

Actor-producer Johnny Depp pays homage to his buddy Hunter S. Thompson through this sprightly adaptation of the novelist's semi-autobiographical novel. Depp plays Paul Kemp, the booze-sozzled journalist who takes center phase in Bruce Robinson's period of time comedy. Out of desperation, the New Yorker takes a work with a San Juan newspaper in 1960, exactly where he studies to the cynical Lotterman (Richard Jenkins) and shares a squalid flat with affreux-again photographer Sala (The Sopranos' Michael Rispoli) and the truly unhinged "crime and faith" reporter Moburg (a scene-stealing Giovanni Ribisi). The 3 Unpleasant Us citizens do their finest to drain the island's rum supply until Kemp meets Aaron Eckhart's slick Sanderson, who recruits the writer to advertise his actual estate ventures, no matter as to the amount of poverty-stricken Puerto Ricans his motels will displace. Politically, Kemp leans still left, but he wants the dough, so he accepts the offer you, only to locate the final temptation in Sanderson's uninhibited fiancée, Chenault (the spectacular Amber Observed). It is a tough balancing act, but when the natives begin obtaining restless, Kemp risks dropping almost everything. If the conclusion feels anticlimactic, Robinson keeps the antic electricity likely through nerve-wracking auto chases, balletic cock fights, and a hilarious acid excursion that recalls the hotel journey-out in Terry Gilliam's Fear and Loathing in Las Vegas, to which Robinson's movie serves as a less surrealistic cousin. If it is not as specific to turn into a cult vintage, like the director's similarly inebriated Withnail and I, Depp and company always remain accurate to Thompson's irascible spirit. --Kathleen C. Fennessy