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IMDbPro

Southland Tales

  • 2006
  • R
  • 2h 25min
CALIFICACIÓN DE IMDb
5.3/10
42 k
TU CALIFICACIÓN
POPULARIDAD
4,287
883
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
Dark ComedySatireComedyDramaMysterySci-FiThriller

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
    POPULARIDAD
    4,287
    883
    • Dirección
      • Richard Kelly
    • Guionista
      • Richard Kelly
    • Elenco
      • Dwayne Johnson
      • Sarah Michelle Gellar
      • Seann William Scott
    • 280Opiniones 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 principal69

    Editar
    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 usuarios280

    5.341.6K
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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.
    8mgoldsmith

    Not as bad as you've heard... never would have done well

    This movie, maybe more than any other I've seen, is a commitment. If you think that 144 minutes is a lot to commit to a movie, the running time is only the tip of the iceberg.

    In the DVD cut of the movie, a lot of things are obscured: what the big picture is, why characters are motivated to do certain things, why multiple identities are a recurring theme, why certain characters/actions are necessary.

    What is in the DVD cut is an extensively detailed alternate world. Unfortunately, to make the actions in that alternate world make sense, you basically have to either watch the movie multiple times, or at least know what you're dealing with.

    There are at least 4 layers to everything that's going on: 1) political/social commentary on contemporary American society and the apocalyptic undercurrent therein; 2) sarcastic/caustic pop culture references (Philip K. Dick is a big one, but also subtle things... for instance, the Rock was Sean William Scott's protector in "The Rundown" and plays a similar role here); 3) a self-consciousness or self-referentialism: actors cast against type, some similar themes to Donnie Darko, actions that play out in the film are largely based off of the AWFUL screenplay written by one of the characters (as seen in the graphic novel prequels); 4) the actual plot of the movie, which has deep ties to the Book of Revelation, and makes much more sense if the graphic novels are read first.

    These layers are pretty consummately intertwined. This is part of what makes this movie to be compelling enough to make me want to put in the necessary effort. Its imagery was provocative, and because Richard Kelly has created such a densely layered world for himself, putting in the time actually is incredibly rewarding.

    It should also be said that this film, like Blade Runner or There Will Be Blood, does not let its plot set specifications on its scope, or what it's about. If you hone in on what the director thinks its scope/purpose is, it's much easier to appreciate.

    I'm not sure exactly how to rate this movie, since as a stand alone movie it is a failure, but if you take the time to get inside Kelly's mind, it's worthwhile. So. My advice? View it as an investment or don't view it at all. Don't throw it on for an evening's entertainment. If you do, you might be entertained, but you'll probably be confused and angry.
    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.
    6snow0r

    big, messy, but enjoyable

    You can get a pretty good idea of Southland Tales from a quick description of its characters. Dwayne Johnson plays Boxer Santaros, a movie star in Richard Kelly's all-too-near dystopian future. But it's not that straightforward. Johnson plays The Rock playing Boxer Santaros, while Boxer is playing the role of a character he's researching, one Jericho Kane. Sarah Michelle Gellar plays an ageing porn-star with a business portfolio that includes energy drinks. And Sean William Scott? Well, he plays a cop's amnesiac twin brother, as part of a neo-Marxist scheme to overthrow the government. Or does he? And you thought Donnie Darko was confusing. Welcome to Southland...

    The year is 2008. Justin Timberlake - did I forget to mention him? He plays a drugged-up Iraq war veteran with a huge scar on his face. Who sits in a huge chair with a huge rifle, guarding "Fluid Karma", an ultra-valuable perpetual motion wave machine that is the new form of power since oil has become rare and therefore massively expensive. Politics, anyone? Anyway, JT (who might be telepathic) narrates over an introduction comprised of graphic novel slides and MTV-meets-FOX news bulletins that guides us from our present to the "present" of Kelly's 2008 Southland. The passage of time has not been kind to the US; a nuke has gone off in Texas, and the country has become a police state. The most "recent" clip reveals that Boxer (played by Dwayne Johnson playing The Rock) has disappeared without a trace, which is where the movie begins. Or does it? By this stage, you just might have gotten the impression that Southland Tales is a bit of a mess. And you'd be right. Kelly's attempt at a politically-charged all-encompassing comment on the world that can also appeal to the youth of today does ultimately fall flat, but that's not to say it's without its merits. The satire's often sharp, and the way the movie skips from genre-to-genre (dystopian conspiracy to Scooby Doo farce to musical to action movie) works surprisingly well without jarring too much. The music, while not perfect (I'm pretty sure Black Rebel Motorcycle Club won't have the kind of comeback that allows them to host LA's 4th of July weekend party next year...) creates some of the movie's more memorable moments, such as JT's Killers dance number and the captivating three-way dance toward the end.

    The deliberately exaggerated performances are, for the most part, very good, with Johnson capturing the action man (playing an action man - going through a crisis - playing an action man) role very well. The way he switches from the kind of guy who pours beer over himself as a form of refreshment to jittery neurotic mess is both funny and engaging, allowing you to see a little of the man beneath the steely facade.

    Unfortunately, this is as close as you'll get to the characters. While the overplaying is amusing, it excludes you on an emotional level. Donnie Darko worked so well because it drew you in, but Southland seems to deliberately keep you at arm's length lest you miss out on some of Kelly's political messages. For all its mystery, intrigue, and action, it feels a bit soulless, and goes out with a whimper as opposed to the bang it so desires.

    Southland Tales is an ambitious film, but a messy one, and while it may not work on the kind of level it's aspiring to, in a movie climate where so many films play it safe, at least Kelly tries. Very flawed, but entertaining nonetheless.
    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.

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    Argumento

    Editar

    ¿Sabías que…?

    Editar
    • 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 Frecuentes63

    • 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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    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)
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