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.
A bunch of pretentious, unlikable dicknozzles wander around Austin for 90 minutes talking about stupid stuff.
And I loved it.
Slacker is an interesting cultural oddity, certainly an experience that I wasn't expecting. Throughout the film, I was reminded of the traditions of many great, canon filmmakers, whether it be the surrealistic nature of Bunuel, in particular the framing device that he employs in The Phantom of Liberty, or the non-narrative traditions of Godard. (It also wouldn't surprise me if this film later had an influence on Harmony Korine's Gummo.)
Slacker is essentially a day in the life of a vast group of characters. Each character has his own quirks, his own story, his own thoughts to share. The sort of paranoid, anti-government, anti-establishment theme that runs through the film helps depict an important setting and time period that allows…
A wonderful piece of film which reflects the society the characters live in. Loved exploring so many different characters, and listening to their fascinating, some times completely normal, but also at times really fucked up ideas, opinions and stories.
Second watch now, and the second Linklater notch in the ''I was wrong'' cinema bedpost, Dazed and Confused will inevitably be the third when I get around to it later. This is another Linklater film that when I first stumbled upon it—knowing very little of its narrative and ideas—I thought would be the kind of dance floor I could really get down on. Yet in peculiar identical fashion, just like his previous film, I adored the ideas but not the execution, quickly palming it off as a failed experiment that somebody else—even myself—could have taken all the way to the bank. Rewatches like this make me very insecure about this here film 'hobby', maybe I should just give up watching…
A.V. Club review. Evidently I have a soft spot for movies that amount to a collection of shorts by the same filmmaker (as distinctly opposed to omnibus features)—see also 32 Short Films About Glenn Gould, Celestial Wives of the Meadow Mari, etc. Not as raggedy as I'd misremembered, though—Linklater put more care and purpose into each shot than the vast majority of Sundance neophytes manage even today.
Slacker is a classic indie film about drifters, dreamers and losers with no ambition, no money and no future. There's no plot and no main characters, and the camera just drifts around the city finding people to film as they walk by.
With Slacker, Linklater makes a films with a fairly interesting concept, and considering the budget it's a bit inspirational that he made it at all, but ultimately it lacks the consistency needed in the narrative structure to fully make it work (which he nailed in Waking Life). It's supposed to be loose and raw, I get that, but the dialogues are not always as interesting, which makes for some parts that are quite boring to be honest. Even…
Linklater's 1991 SLACKER is an interlocking web of verbal-diarrhea vignettes exploring Austin TX misfits. It has very detailed and elaborate camera movement, looking at cars and people and things to be done, but monologues that seem proudly, outrageously flat and obvious and silly. That's part of the self-conscious charm, I think, but it doesn't always seem the most effective. Like Ben Stiller's 1994 REALITY BITES, in more than just '90s-indie scruff, SLACKER also explores profound wells of social experience: left behind or one step ahead, and who's to say, really. It's a landmark in American indie film too, but -- unfortunately enough -- a bit stale today.
I'm going to Austin at the end of the month, so I decided to watch this. Richard Linklater has long been one of my favorite directors and in Slacker, he develops themes that continue throughout his filmography. He also manages to capture so much of what I love about Austin and Texas in general, drawing a line between the master of Texan cinema, Eagle Pennell, and the modern Texan mumblecore cinema of today.
Shoo-ee howdy shucks!
A bit too precious for my taste; some neat sketches mixed with a whole lot of dull "insight"
Was it yesterday or the day before that would have been Kurt Cobain's 47th birthday? Flashed on that as I began watching SLACKER again for the umpteenth time since 1991. I was thinking of the ending of the film as it began, and thinking ahead to that glorious moment of the camera being thrown off a cliff, spinning out, nature turning into a Brakhage abstraction, it suddenly reminded me of the equally glorious finale of "Smells Like Teen Spirit": A denial, a denial, a denial, a denial -- yet somehow in that asserted, necessary denial of (seemingly) everything, an assertion of self that demands, DEMANDS, a Something, a Something Other than all that uselessness that must be denied. A something…
I like the following-around-different-people thing. I find that really interesting and it'd be cool to see another movie like that. Like most, I find this movie quite weird. It was entertaining though. The several "what the fuck?" moments were amusing. It doesn't have a whole lot of re-watch value for me though, so that's why I would say that I don't particularly like it, BUT I don't hate it either. It was just interesting.
My favorite aspect about it is that the entire movie is basically a huge critique on society. Being that I really dislike society as it currently is, I'd obviously find that appealing.
"sorry i'm late".
"that's alright. time doesn't exist".
lackadaisically plotted and scrappily conceived scattering of bookmarks linklater would later continue exploring throughout his career, existing here in a forever tangential but always stimulating string of digressions and dialogues with a flakiness to mirror his focal community. can seem thin at first, but as a vivid marker of an aimless, disaffected student generation whose aversion to societal participation and penchant for philosophical detouring is pretty resonant in regard to my own, it only seems to expand the more i think about it.
(I saw Slacker back in 1991. It inspired me to write the following a few days later for a class:)
"There's no future, no future, no future for YOU!! -- Johnny Rotten, 1977
Last week, I turned 29. In a month, I graduate from college, having been and out of school for a little over a decade. When my father turned 29, I was 8. He had also been married for 10 years, served a stint in the Marines, graduated from college, passed the CPA exam, and was beginning to teach himself COBOL computer programming. He had sired two children and was within a month of conceiving a third. I really haven't done shit.
My generation is the slacker generation;…
A discursive yet inconsequential look at human behaviour, social practices, and the futility of desire. 77/100
- 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.