All the films from all the editions, including those subsequently removed, presently totalling 1167. 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 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…
Richard Linklater's debut shows almost everything he aspired to do with his next films, both technically and in terms of topics covered, Slacker is a real intrinsic and geniune first film from one of the best directors of his generation. If someone had told me that I would actually like to see an infinite number of characters babbling and rambling around for more than ninety minutes, I would not believe it but the truth is that, as time began to pass, this film started to gain my privileged interest.
I wasn't kidding, this film is literally about a bunch of guys who talk and talk and never shut the fuck up, it's a film that's constantly shifting from character to…
A bunch of pretentious, unlikable dicknozzles wander around Austin for 90 minutes talking about stupid stuff.
And I loved it.
I just watched Slacker, then started it over and listened to the commentary. I love this frantic, lazy, wry, clever, weird-ass movie. I love every moment of it.
I love this movie because it makes me want to be a filmmaker. I am a senior in high school, and right now I am in the middle of my biggest film project to date. We are making a documentary. I look forward to shooting it each week. It is insanely fulfilling, challenging, and enjoyable. Every time I have been a part of making a short film, the process has been simply romantic. Even with the fighting on set, the script disagreements, and the painstaking process of editing, the process is magic.…
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…
One of the very first of the 1990's American Indie Film Wave, Richard Linklater's "Slacker" still holds up. As far as I'm concerned this film is an American Cinematic Treasure that serves as an all too accurate satirical mirror to the MTV Generation.
Filmed on a shoe-string, Linklater manages to create a well-paced and focused examination of eccentricity, cultural malaise, paranoia, boredom and confusion that we found ourselves once our universities released fully degreed into a world to which we simultaneously connected but didn't understand.
Linklater also intelligently pays homage to every great filmmaker from Atlman to Goddard in under 2 hours. Brilliant. A must see for anyone who enjoys cinematic experimentation and entertainment that is firmly placed just off to the left of center.
Linklater in his purest form: lots of walking and talking (which i love).
A collection of strange, fascinating people within the city of Austin, Texas. What do they have in common? Unemployment. This is Richard Linklater's first film and he knocks it out of the park. It feels like a portal into Linklater's subconscious, which to his credit, is a very entertaining one at that.
Richard Linklater sure knew what his style would be, early on. The philosophical soliloquies that are half remarkably insightful and half rambling lunacy.
I was surprised to see such a noticeable boom dip, but I suppose that's the risk you take with such long takes (major props for the technical accomplishments on such a low budget).
A film like this makes me think that it's possible for anyone to make it if they put their mind to it.
The idea was great, but it was sooo boring watching this for 97 minutes
Richard Linklater's indie phenom, Slacker is my favorite movie where a boom mic is accidentally shown. Made for such a low amount of money, this film is masterful in a lot of ways. It's structure is what makes it appeal, regardless of its technical (really, budget) flaws. I love going in and out of these lives of these characters, all feeling authentically together in the same world. They are obsessives, passionates, and slackers. Austin is made out to look like a place that could both be fascinating and drive one crazy, but you realize that the film is bigger than Texas--this is every community in a way.
I love being in this world, and it makes me view my own a bit differently as well.
Linklater went on to make a masterpiece or two, but here is where it all starts. Boyhood is here, as are the Before films.
Criterion Blu-Ray #49. This would probably be my favourite film ever if I cared one iota about any of the characters inhabiting it and didn't think they were all clinically insane (as opposed to merely eccentric). It's structurally and formally breathtaking, but so many of these vignettes annoyed the shit out of me, rather than endearing me towards them. I suspect if some of them had been longer (resulting in fewer overall), I would have come to empathise with them. Indeed, my favourite by far was the UFO theorist walk-and-talk. Although my second favourite was the kids and the Coke machine, so maybe it's not additional length that was needed...
It's interesting to see how Linklater made a film using everything around him.
For five years, film critic Scott Tobias compiled "The New Cult Canon" in a regular column for The A.V. Club…
[after his parents have left, thinking he is ill] "They bought it. Incredible! One of the worst performances of my…