All the films from all the editions, including those subsequently removed, presently totalling 1154. An easy way of seeing how…
Presents a day in the life in Austin, Texas among its social outcasts and misfits, predominantly the twenty-something set, using a series of linear vignettes. These characters, who in some manner just don't fit into the establishment norms, move seamlessly from one scene to the next, randomly coming and going into one another's lives.
Richard Linklater's feature debut Slacker, features the walking and talking style made famous in his Before Trilogy of films. In those films it worked for me because the conversations were very interesting and I cared about the characters. Here I just couldn't get into it. It was like how it might be if you could replay all the random conversations you might hear during the course of a day. Some may be interesting while others are boring as shit. This film was like a collection of those conversations and sadly most of them were of the boring as shit variety. Interestingly enough I felt the same way about Before Sunrise the first time I saw it only to love it on a re-watch. So Slacker I guess that means I'll be seeing you again some day.
Richard Linklater's Slacker is a film about nothing. People who do nothing. A town that feels like nothing. And yet, I can see why some get angry when others say that there isn't any point to the whole thing.
Basically, that the film has no point is the point. These characters, lost in a state of disillusionment, are living their lives; and Linklater made a movie out of it. And for most of the running time, It's pretty brilliant.
Sure, the film meanders at some points, and some characters are more interesting than others; but the rest is so enthralling that you don't really care.
Linklater is becoming one of my favorite directors, and Slacker is a prime example why.
It says so much about the ultimate destination of Kevin Smith's career that it began when he watched Slacker and felt like it was so tin that it proved he could do the same. Granted, Smith's conception of slacker culture, of people stagnating when they reach their 20s and realize they have no idea what to do and ultimately just bullshitting about Star Wars and sex talk is, on the whole, perhaps more accurate a portrait of youthful wheel-spinning. Linklater's film, on the other hand, is less about a specific generational angst than the collective drain of people of all ages who are just a bit off, who never really got with the program.
"Slacker," then, is more of a…
"And remember,the passion for destruction is also a creative passion"
It's like watching Larry David collaborate with Woody Allen to depict suburbia...Linklater in his stunning debut unleashes nihilism,loneliness,philosophical exchanges which would have made Nietzsche proud..At it's heart it digs deep into Americana...
A bunch of pretentious, unlikable dicknozzles wander around Austin for 90 minutes talking about stupid stuff.
And I loved it.
Richard Linklater's debut film Slacker has all the great elements of independent filmmaking. Its originality, boldness, and uncompromising style make it a really nice appetizer for what will come later in Linklater's career.
Taking place in 24 hours, Slacker revolves around residents of Austin, Texas - a place that you soon learn is hipster hell. These pretentious, misguided, dickweed mcdouchholes are actually extremely compelling to watch. The movie is told through a series of scenes where the camera follows a new person after each encounter. These vignettes never allow the audience to get tired of a setting, plot, or character. However, there were a few occasions where I wanted to stay with one person instead of moving on. Some of…
Nothing else like it.
The "slackers" in question are a rotating cast of hipsters and outcasts in Austin, TX. Conspiracy theorists, revolutionaries with merch tables, psychos, lovers, mystics, anti-artists, someone trying to sell a Madonna pap smear....
They all get screen time to make a philosophical point or share a theory. Some crazier than others ("Smurfs are about getting kids used to seeing blue people, for when Krishna comes about.") but all shared with conviction.
Of course, Linklater would go on to use this familiar sense of pacing and dialog more effectively in later films.
I) I don't get it. II) Certainly ends on a high note. III) (Didn't much care for Waking Life either.)
Richard Linklater is nothing if not ambitious. In this, one of his first features, he decides to forego a traditional story altogether and instead try to weave together a picture of life in a certain place at a certain time out of a great many different characters and experiences. It seems crazy that such a relatively new director would try something like that, and even crazier that it actually turns out as good as it does. Linklater does a fantastic job of getting you to care about each of the characters, as he does in all his movies, but it's really impressive in this case since he has to do so in a matter of minutes each time. At the…
Kind of like a day on twitter before there was twitter, unmediated by screens. Makes me nostalgic for screen-free old times (and pants that went all the way to your waist).
After watching (& subsequently falling in love with) Linklater's Boyhood over the weekend I decided to go through the rest of his filmography. Slacker did not disappoint.
Slacker, Linklater's micro-budget second feature, is an obvious forerunner of Waking Life. It begins with Linklater himself rambling on about the hypothetical multiverse before the camera gets distracted and starts following another chatterbox. One thing leads to another and the whole '90s Austin scene is dissected. The film is chock-full of ideas and eccentric characters, from a JFK conspiracy theorist and an ineffectual robber, to a matricidal zealot and a dude who wears a TV on his back. The way these characters preach their political and philosophical beliefs may come across as pretentious to some, but it's genuinely entertaining stuff to me, and it's why I love Linklater: he just likes to hear people talk, no matter how intelligent or nonsensical it is.
El trabajo de un Linklater que obviamente aún debía madurar. Las conversaciones y paseos eternos que tan bien funcionan en la trilogía "Antes de...", el continuo estado de paranoia que encaja a la perfección del Philip K. Dick de "A Scanner Darkly", las charlas pseudofilosóficas a medio camino de la ensoñación que caracteriza "Waking Life"... Todo está ahí, pero sin un propósito ni objetivo claro más allá que el de seguir moviéndose, sin ir a ningún lugar ni huyendo de nada en concreto.
On a Tuesday night in April 2002, when I was fourteen, my mother drove me three hours across the state of Texas to go see Belle and Sebastian (my favorite band then and now) play at the Backyard in Austin.
At one point, between songs, lead man Stuart Murdoch started telling a story about meeting one of this film's cast members at a bar the night before (it would be another couple years before I saw this or else I'd probably remember more precisely who he said he met) and how their conversation had been derailed/overtaken by a very drunk Irishman.
"Was anybody here in SLACKER?" Stuart then asked us, to which a sizable portion of the crowd responded with cheers and clapping and raised hands.
"Yeah," he said, almost wistfully, "yeah, everybody was in SLACKER."
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- Donnie Darko
- Morvern Callar
- Irma Vep
- Miami Blues
- Babe: Pig in the City
For five years, film critic Scott Tobias compiled "The New Cult Canon" in a regular column for The A.V. Club…
- Grand Illusion
- Seven Samurai
- The Lady Vanishes
- The 400 Blows
The entire Criterion collection organized by spine number.
I don't know why I did this.
Number I've Seen: 158/738