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IMDbPro

Southland Tales

  • 2006
  • R
  • 2h 25min
CALIFICACIÓN DE IMDb
5.3/10
42 k
TU CALIFICACIÓN
Bai Ling, Sarah Michelle Gellar, Jon Lovitz, Wallace Shawn, Seann William Scott, Justin Timberlake, Dwayne Johnson, Mandy Moore, and Cheri Oteri in Southland Tales (2006)
Theatrical Trailer from Samuel Goldwyn
Reproducir trailer2:29
1 video
99+ fotos
Ciencia FicciónComediaComedia oscuraDramaMisterioSátiraThriller

Una estrella de acción con amnesia cruza su camino con una estrella porno que está desarrollando su propio proyecto de televisión y un policía que tiene la llave de una gran conspiración.Una estrella de acción con amnesia cruza su camino con una estrella porno que está desarrollando su propio proyecto de televisión y un policía que tiene la llave de una gran conspiración.Una estrella de acción con amnesia cruza su camino con una estrella porno que está desarrollando su propio proyecto de televisión y un policía que tiene la llave de una gran conspiración.

  • Dirección
    • Richard Kelly
  • Guionista
    • Richard Kelly
  • Elenco
    • Dwayne Johnson
    • Sarah Michelle Gellar
    • Seann William Scott
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    5.3/10
    42 k
    TU CALIFICACIÓN
    • Dirección
      • Richard Kelly
    • Guionista
      • Richard Kelly
    • Elenco
      • Dwayne Johnson
      • Sarah Michelle Gellar
      • Seann William Scott
    • 281Opiniones de los usuarios
    • 138Opiniones de los críticos
    • 44Metascore
  • Ver la información de producción en IMDbPro
    • Premios
      • 1 premio ganado y 3 nominaciones en total

    Videos1

    Southland Tales
    Trailer 2:29
    Southland Tales

    Fotos126

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    Elenco principal70

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    Dwayne Johnson
    Dwayne Johnson
    • Boxer Santaros…
    Sarah Michelle Gellar
    Sarah Michelle Gellar
    • Krysta Kapowski…
    Seann William Scott
    Seann William Scott
    • Roland Taverner…
    Carlos Amezcua
    Carlos Amezcua
    • Self
    Curtis Armstrong
    Curtis Armstrong
    • Dr. Soberin Exx
    Robert Benz
    • Tab Taverner
    Todd Berger
    Todd Berger
    • Bing Zinneman
    Joe Campana
    Joe Campana
    • Brandt Huntington
    Chris Andrew Ciulla
    Chris Andrew Ciulla
    • UPU 4 Officer 3
    • (as Chris Ciulla)
    Rebekah Del Rio
    Rebekah Del Rio
    • Vanessa Vera Cruz
    Aaron Dillar
    • Jimmy Hermosa
    Nora Dunn
    Nora Dunn
    • Cyndi Pinziki
    Shari Dunn
    Shari Dunn
    • USI Dent Reporter
    Michele Durrett
    Michele Durrett
    • Starla Von Luft
    Jon Falcone
    • Soldier Falcon
    Leila Feinstein
    Leila Feinstein
    • Self
    Jaret Gardiner
    Jaret Gardiner
    • Shane Laverne
    Janeane Garofalo
    Janeane Garofalo
    • General Teena MacArthur
    • Dirección
      • Richard Kelly
    • Guionista
      • Richard Kelly
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios281

    5.341.7K
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    Opiniones destacadas

    3yurdakul-peksen

    What would you do if you had 17 million dollars to play around with...

    ...after you have landed an indie hit? If you had a gazillion of incoherent opinions about the world and your homeland? If you are mad, confused and overwhelmed about/by the politics and the society? If you have watched too many movies and wanted to integrate your influences all over the place at any sacrifice? If you wanna sell your -in the core- interesting, exciting, weird but overall half-baked ideas that were maybe influenced by some bizarre dreams you had or just popped into your mind after you had too much LSD? Well, you might go and shoot something like Southland Tales. Of course everyone has his own opinion and no one should judge artistic devices and expression since it's entirely subjective and there are no rules to it. So arguing over tastes and opinions is really senseless. But having read many reviews mentioning "real genius" and "a masterpiece", I would like to respectfully disagree. To me it felt like a missed shot at achieving something big, something which was supposed to be an avant-garde and unprecedented work so it would become a cult movie. And when it got horribly out of control, all you can do is trying to patch the whole thing up and sell it so that the intented result was exactly this: "a profound sci-fi satire, an artistic mindfuck".

    Too many wildy combinated ingredients doesn't make the soup taste any better. Intention and execution are really two different pairs of shoes.
    iimsoul

    Film-making with no regard for the audience

    Renais, Bunel, Godard, and Lynch; these are all filmmakers who use the medium to challenge and provoke audiences. They often times subvert genres, norms, and cinematic conventions and give us provocative, brain-nutritious cinema. Though their movies tend to alienate a large portion of viewers, they still create their art, with their audience in mind, knowing full- well that at the end of the day, a connection needs to be made between the film and the people.

    Richard Kelly's DONNIE DARKO, while clearly the work of a not-yet-matured filmmaker, gave us the promise of a budding artist whose intentions might have been similar to those aforementioned filmmakers. Unfortunately, after seeing his follow-up, SOUTHLAND TALES, I believe his potential has either been stilted, stalled, or misperceived. In fact, viewing TALES and DARKO back-to-back, his second film comes across as utter regression.

    TALES felt like the longest, most expensive student film I've ever seen. At just under three hours, it's a sprawling mess. Oddball for the sake of being oddball, cryptic for the sake of of being cryptic, tonally confused, structurally struggling, I think, no matter how they "clean it up," it will be impossible to salvage.

    There's nothing on screen to make you care. To make you invested. There are no stakes. Actually, there's no plot, just a bunch of incidents which are all happening at the same time seemingly to justify why these characters would criss-cross. The characters are so thinly conceived, you find yourself looking at the scenery (all in LA), trying to name the street, beach, or building. The imagery is repetitive and banal. The themes are jumbled and stated over and over again by on-the-nose voice-over from Justin Timberlake.

    Watching this was like watching a movie by a severely Autistc filmmaker; in his mind, this all works and has a rhyme and a reason but to me, the viewer, there was absolutely no way to access it. This is not for my lacking of intellectual depth or intelligence. I was awake, aware, acute, and ready to absorb this film. Only, the film wasn't ready to engage me.

    Next time at bat, Mr. Kelly should look to the masters he was trying to emulate and see that beneath their audacious sometimes even experimental surfaces, there are real stories and real characters at play.
    tedg

    Karmic Fluid

    I liked this enough to tell you in the first sentence that it would have been a candidate for one of only two 4-star ratings I give per year.

    If you are an average viewer, you will be put off by the apparent narrative incoherence, the seeming lack of center and the childish nature of some of the devices. That's all fair enough. But let me point you to two things that make it for me.

    The first is that it is inherently cinematic. It makes about as much sense when the sound is turned off. Indeed I watched the whole thing through this way once and it actually makes more sense. There's lots of cinematic nesting: movies about movies; videos, narratives and disguises within. There's lots of causality denoted visually. You will find scores of quotes from other films, many more than those "parody" teen movies. And you'll discover many of your favorite intelligent but not famous actors.

    That would be enough for me, but there's something else. In fact, though the story is confusing, deliberately made so through how it unfolds, it does make complete sense. It makes as much sense as, say, "The Matrix." I wish it didn't, but there you are. But its the way the story slips about that is pretty wonderful. You see, a narrative works by the way the pieces connect.

    Usually we don't have to work because the way the pieces connect is the way they happen in real life: the causal flow of the narrative telling is the same as in the story. But the detective story, and modern noir changed that and now we have a variety of causal connections that can glue the bits together. Even these you don't normally notice unless the writer — as here — makes the shifts between bits cover a greater distance than usual.

    Pay attention to this. Greenaway uses reference to number sequence. Barney uses progress through the sexual encounter, clever that. Lynch provides these discontinuities by having characters shift selves — a technique of discovery. Joyce — who in a way is the gold standard because he reified this sort of art through cognitive plumbing connection — depends on notational congruence. All these are exciting as getout in the hands of their masters.

    But this is different, more rooted in noir, in cinema. These elements are connected in ways that only read in film.

    Here's what I mean: film has evolved a set of notions we call noir. These capture two worlds; the world of the story where the laws of the universe seem to be deliberately arranged by strange occurrences, "mistakes" and coincidences to play havoc with key characters. Then there is the (usually implied) second world where those laws are manipulated and we the viewers sit. In almost all noir films, this effect only occurs in the long form, meaning that it is apparent when seem over the whole story.

    Now look here. For all intents, there is no long form here, just a sequence of medium- sized events, each of which contain rather than follow the previous ones. This form was pioneered (I believe) by Altman. The narrative glue of the whole is how the segments slip against one another. We have "Magnolia" that plays with this concept as well, this slipperage. Its the connection that conveys the world. Its subtle and homeopathically powerful as a result.

    Now this. Its another step forward in that the connection between elements involves changes in the way the world works. Each shift is not just between story segments that don't make sense, they don't make sense BECAUSE of the nature of the transitions. Many of these transitions involve a change in the laws of the universe. Its as if you were playing chess as a chesspiece, and the rules of the game changed according to the patterns of the pieces on the board. The whole thing would make sense afterward when seem as a whole, but the chessmen will be baffled.

    What this does is build an ordinary noir with the two worlds: story, and gods. But it cleverly puts the viewer on the chessboard as someone at the mercy of the rules. Its no accident that the inspiration is Philip K Dick (who invented this sort of reverse introspection), that the key magical plot device is the magically named "fluid karma," and that the mascot is Bai Ling, who was our Béatrice Dalle surrogate for a while.

    I want to give this a four, but I do think that the two others from this year are more important.

    Ted's Evaluation -- 3 of 3: Worth watching.
    3addicott

    I'm not drinking the Kool-Aid.

    I give the film a 3 out of 10 because it does have some sharp moments where some sort of vision glimmers through. I particularly enjoyed watching Jon Lovitz shattering type. And it's good to see Nora Dunn and Will Sasso on the big screen.

    But for the most part, this feels like the world's most expensive B-movie. It has a lot of scenes, most of which are professionally lit and well-composed through the camera, and they feature actors reading lines. And that's all there is - the parts don't add up to a whole.

    I like weirdness and I like apocalyptic themes. I like social/political reflection and cinematic chaos. I don't require a movie to present a nice, tidy narrative arc. I do, however want to be drawn in, I want to believe at some level in what's happening on screen. And this movie didn't do that for me. None of these scenes are ever going to happen. They don't depict, or reflect on, a world in which we live. They're supposed to, but like a badly-drawn portrait, the resemblance isn't quite there. All I see is a bad rendering.

    I honestly can't understand where all the positive hype for this movie is coming from. I suspect a case of the emperor's new clothes. If you genuinely enjoyed this film, I say the more power to you. Having made it to the end, I think it's a dud.
    3LinkinParkEnjoyer

    I can't even explain what's the plot of this movie

    What the hell did I just watch??? I'm so confused. So many random ideas pilled into one big movie about America with some fourth dimension stuff. I'm big fan of Donnie Darko but this is just too much. The acting is horrible, the dialogue is even worse (there are so many sex jokes that aren't funny at all). Justin Timberlake's character is just sitting in the middle of the sea with the gun lol, also The Killer's song sequence was the most random thing in this chaotic movie. Hot mess.

    Argumento

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    ¿Sabías que…?

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    • Trivia
      Richard Kelly consciously sought out actors that he felt had been pigeonholed and wanted to showcase their "undiscovered talents."
    • Errores
      When the home video at the start of the film catches a glimpse of the initial bomb blast, we see the flash and hear the boom at the same instant. Anything close enough to a nuclear blast to hear the boom at the same instant as seeing the flash would be instantly disintegrated.
    • Citas

      Krysta Now: Scientists are saying the future is going to be far more futuristic than they originally predicted.

    • Créditos curiosos
      After the credits, a logo appears of a thumbprint over an American flag with the words: "DON'T TOUCH ME"
    • Versiones alternativas
      Originally running for 160 minutes, Southland Tales premiered at the Cannes Film Festival in 2006 to a disastrous reception. Because of this, it was re-edited and shortened in length as part of the distribution deal. Since the shortened version was shown theatrically and released on DVD, the Cannes cut has been shown on Cable TV and DVD releases in Europe. Some of the changes between the theatrical cut and the Cannes cut are as follows:
      • Opens the same as theatrical cut, with home video in Abilene, except with music ('Water Pistol' by Moby) and runs longer. Video is also shown in its original aspect ratio, instead of cropped for 2.35:1.
      • Doomsday Scenario Interface is not present in the original cut, it was added to provide background information present in the graphic novels. Instead we have narration from Pilot Abilene explaining the present situation and Treer Corporation.
      • The meeting between the Baron and Hideo Takehashi takes place much earlier in the film, Pilot explains the Baron dislikes Takehashi.
      • The character of General Teena MacArthur is more fleshed out in original cut, she mainly communicates with General Simon Theory and the Baron.
      • Many scenes with dialog between main characters have been extended i.e. scenes with Boxer & Roland, Krysta & Cyndi, Boxer & Starla, Cyndi & Vaughn Smallhouse etc.
      • Pilot explains that Bart Bookman is an 'angry man' with a willingness to die.
      • Some events that take place are better explained in original cut e.g. Boxer ringing Fortunio before meeting him, Serpentine explaining her actions at the end.
      • Features additional effects of the blimp not in theatrical version.
      • Features music by Moby not present in theatrical version i.e. 'Ceanograph' is heard in scene giving information on the rift, 'Hotel Intro' is heard as characters visit different sections on the blimp.
    • Conexiones
      Featured in Siskel & Ebert & the Movies: Beowulf/Margot at the Wedding/Mr. Magorium's Wonder Emporium/Enchanted/Southland Tales/Love in the Time of Cholera (2007)
    • Bandas sonoras
      If I Could Be With You (One Hour Tonight)
      Written by Henry Creamer and James P. Johnson (as Jimmy Johnson)

      Performed by Louis Armstrong

      Courtesy of Columbia Records

      By Arrangement with Sony BMG Music Entertainment

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    Preguntas Frecuentes

    • How long is Southland Tales?Con tecnología de Alexa
    • Where does the information in this FAQ come from?
    • Why does the film start with chapter IV?
    • What is Fluid Karma?

    Detalles

    Editar
    • Fecha de lanzamiento
      • 7 de diciembre de 2007 (Reino Unido)
    • Países de origen
      • Francia
      • Alemania
      • Estados Unidos
    • Sitios oficiales
      • DVD site (Japan)
      • MySpace page
    • Idioma
      • Inglés
    • También se conoce como
      • Ma Cô
    • Locaciones de filmación
      • Manhattan Beach, California, Estados Unidos
    • Productoras
      • Universal Pictures
      • Cherry Road Films
      • Darko Entertainment
    • Ver más créditos de la compañía en IMDbPro

    Taquilla

    Editar
    • Presupuesto
      • USD 17,000,000 (estimado)
    • Total en EE. UU. y Canadá
      • USD 275,380
    • Fin de semana de estreno en EE. UU. y Canadá
      • USD 117,000
      • 18 nov 2007
    • Total a nivel mundial
      • USD 374,755
    Ver la información detallada de la taquilla en IMDbPro

    Especificaciones técnicas

    Editar
    • Tiempo de ejecución
      2 horas 25 minutos
    • Color
      • Color
    • Mezcla de sonido
      • DTS
      • SDDS
      • Dolby Digital
    • Relación de aspecto
      • 2.35 : 1

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