Leaving Las Vegas
- heavy
- measured
- intense
- bleak
Heavy, measured, measured drama / romance, grounded in texture. Nihilistic, intimate, measured, hand-scored across twelve axes of taste.
How every film is hand-scored →Ben Sanderson, an alcoholic Hollywood screenwriter who lost everything because of his drinking, arrives in Las Vegas to drink himself to death. There, he meets and forms an uneasy friendship and non-interference pact with prostitute Sera.
Our read · Leaving Las Vegas (1995) reads as a heavy, measured, grounded drama · romance entry — measured in intensity, intimate in scope, measured in temperature, nihilistic in outlook. Hand-scored on twelve axes of taste — mood, pacing, weirdness, hope, stakes, humour, reality, density, warmth, auteur, intensity, and era — with a derived palette drawn from its dominant cinematography.
More info & search links
The shape of Leaving Las Vegas
What watching it is actually like.
“You want raw, unflinching intimacy about addiction and two people honoring impossible boundaries.”
Skip it tonight — Skip if sexual assault, alcoholism, or suicide themes will leave you wrecked tonight.
The reading.
Each axis is hand-scored — not derived from votes or genre averages. The marker shows where this film sits; the gradient fill uses the film's own cinematography palette.
Eight films that read most like this one.
Closeness in the twelve-axis space — how the film actually reads, not “people also liked.”
Discussion
What does your Movie DNA look like?
Rate a few films you've seen. We map your taste across the same twelve axes and find the films you'll actually want to watch tonight.
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