Movies that are slightly off.
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.
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 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.
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 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 character…
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…
"The necessary beauty in life is in giving yourself to it completely. Only later will it clarify itself and become coherent."
This quote by the old man at the end of he film, for me, sums up much of what Linklater is about in his films, specifically D&C, the Before trilogy, Boyhood and of course this. And it's really quite beautiful. He has a singular knack for characters speaking in an off the cuff philosophical very real way that stops mercifully short of being pretentious or overbearing.
More than almost any other director working today, I think Linklater understands and empathizes with people. All kinds, non-judgementally. He sees in the mundane everyday the possibilities of life, and the true trancendence of that Heminway notion that what's under the iceberg is always there, no matter where you are or what you're doing and saying.
So much more enthralling in concept than in execution for me, unfortunately. I kept waiting for this to win me over with Linklater's rich understanding of these subcultures and ideologies complemented by his formal ambition, but this just felt enervating after about the first half-hour. I suspect I prefer Linklater at his more humanist, which is why I didn't respond to the pessimism I see at the heart of this (with the structural gambit undermining the specificity of all these colorful characters). I don't know, maybe a rewatch down the road will illuminate this for me someday.
This movie seems like it was made for me, but I still don't get the appeal. I enjoy it, but not greatly so. Still a solid debut to one of America's finest filmmakers.
At first I was like 'whaa...?'
But then I was like 'whoa.'
more like mansplainer
Great film, little too much philosophizing in my opinion, could have been more subtle
A movie about nothing that captures an entire generation and their aimlessness by the throat. Truly nobody comes close to presenting human emotions better than Richard Linklater
I had to watch the film that inspired Kevin Smith to make clerks being a huge Kevin Smith fan. It's easy to see how Clerks was inspired by this film. Richard Linklater used a shoestring budget to create a film so simple but so brilliant.
There's literally no plot, the plot is that theres no plot. It's a film about the estranged people living in Austin, Texas. I loved the way it's shot, it starts with Richard Linklater himself taking a taxi from the airport where he comes across a hit and run, the story then goes to the person that committed the hit and run where the police arrest him, the story then goes to the people that saw his arrest.
IT'S SO SIMPLE YET SO BRILLIANT
Watch ten minutes of Slacker and you'll understand why Sundance was so taken aback by Linklater's debut. Its USP is its jarring non-linearity. It excels through its surprising lyricism and diverse humour.
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