Slacker

The most interesting thing about Slacker is the way it was filmed. There is no real ONE storyline, until later in the film when viewers realize that one of the main premises is that everything that happens to someone in their day can have a effect on people they might not even know.

The film is split into 5-10 minute bits and pieces, as the camera moves from person to person. The first character we meet sees someone on the street and has a conversation with then, then the camera follows them for a while. Great stuff for those who suffer from Attention Deficit Disorder, which I think represents most of us age 30 and under.

It's a very original and thoughtful idea. Rather than develop one storyline, we get to see part of many peoples lives and how they all affect each other. There are some great moments of comedy, and tongue in cheek humor, as well as sadness.

Perhaps moreso than any other film, Slacker embodies what Generation X is/was all about. It is one of the great defining films of Generation-X, along with Trainspotting, Clerks, True Romance, and Reality Bites.

Director Richard Linklater follows one slacker after another in this absolutely fascinating film. Linklater throws out the rules of traditional movie-making with this low-budget film shot in Austin, Texas. There is no star, in fact, there is no central character. The camera simply follows one person, who meets and relates to a second person, then follows the second person to a third person and so on. Although the structure appears aimless, it remains thematically in focus throughout, and the film introduces enough interesting characters to fill five movies. The only problem is the length. By the end, the novelty starts to wear off a little bit.

Extreme boredom leads to fascination. Like sands in the hourglass so is this day in the lives of several bohemians living in Austin, TX in 1990. You'll either be bored to tears or fascinated to no end.

If you've ever been to Austin, or spent a sleepy summer in a college town like Lawrence, KS or Madison, WI, then you'll appreciate the parade of pseudo-intellectuals and good-natured conspiracy theorists that provide much of the grist for the script. These offbeat characters and wonderful dialogue make this film memorable.

Remember the traumatized yacht owner in the greasy-spoon diner or the older dude with the toupee from the coffee shop? 'We've been on Mars since the 50's', he says. I loved the loser with the TV strapped to his back and the older guy who found an armed robber in his house, only to take him for a stroll and a friendly chat (about Charles Whitman). I also enjoyed the menstrual-cycle stone garden and the fortune-telling hippie chick with the black eye who was having 'a breakthrough day'. Nearly every conspiracy theory in modern pop-culture is paid lip service during the film. That's a lot of sophistry and navel gazing to be sure!

Not every character is a gem. The Madonna pap-smear girl gets more annoying with every viewing. But I recommend this film for its originality and understated comedic themes.

Much has been made of the tangent approach to the story telling. I think the technique runs out of steam about three-quarters of the way into it. In other words, it's about 20 minutes too long. Still, it's a fun movie!

I agree with the other people who have praised this film, it is terrific. I also own a copy and find that I seldom make it all the way through. Still I keep it and periodically go back to it because I can't wait for a particular character to show up or to be reminded of one that I'd forgotten. And best of all....I think that I've known most of these people at some time in my life! As bizarre as all of these characters are they are very much like some of the wackos everybody encounters throughout their lifetime. Linklater did a very good job of his caricatures and drew excellent performances out of his cast.

The title of Richard Linklater's deadpan debut feature describes a new generation of young, educated, aimless social misfits, part of a young neo-bohemian subculture of drifters, dreamers, and losers with no money, no ambitions, and no worries outside the occasional paranoid conspiracy theory. Their marginal lifestyle revolves around the concept of (in slacker vernacular) 'hanging out': eating, sleeping, watching TV, drinking coffee, and listening to the latest, local garage bands. But what they do best is simply talk, and the viewer is invited to eavesdrop on an extended series of hilarious soliloquies, anecdotes, and observations about politics, history, art, Smurfs, and UFOs, from a cast of nearly 100 genuine slackers pulled off the streets of Austin, Texas, apparently a hub of slackerdom. The film (not a documentary) is structured entirely around random encounters, methodically following one character after another, with no plot to interrupt all the verbal detours and digressions. It looks (and sounds) entirely improvised, but believe it or not was all carefully scripted and choreographed, and the result is one of the more unique and original American features of its time.