Aggiungi una trama nella tua linguaSeven skateboarding friends test the limits of freedom in a stifling suburb where there isn't much to do.Seven skateboarding friends test the limits of freedom in a stifling suburb where there isn't much to do.Seven skateboarding friends test the limits of freedom in a stifling suburb where there isn't much to do.
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First of all, Am I supposed to believe that Matt Barr is only 16 as they wish us to believe? I mean, I am 25 and I look closer to 16 than this guy does, I mean, When I first saw him, I thought he was the lead actors father, Not the lead actor. This movie was horribly written, Horribly shot. First let me discuss the dialog in this movie, The script sounded like it was a really bad 6th grade play. This movie had potential to take us into the world of skateboarders, A sport which I grew up with, But sadly, This movie centers around a supposed 16 year old (The obviously much older Matt Barr) and his School teachers sexual escapades. So instead of a good docu-drama, This turns into soft core porn with no point other than to show a couple of boobs and a few half hearted skateboard tricks. I rented this because it was the only new movie at BlockBuster I hadn't seen. Now, I wish I had just stuck with a favorite into venturing into the waters of this steaming cow turd.
Suburbs, Skating and ESCAPE are the themes that fuel the directorial debut of Clark Walker. The story follows a group of friends bound by their passion of skating. Matt and company desperately want out of Levelland, Texas. To escape from the monotony of the suburbs, Matt company resolve to building ramps (with stolen materials.) Trespassing, and hitting the highways of Texas. The films successfully shows the diversity of the suburban culture and the isolation of the modern day youth.
The thing that I liked best about this movie was its heavy 80's era punk soundtrack. Sporting Black flag, Minutemen, Replacements and more. Overall the general storyline is easy to follow and works well. Being a kid from the suburbs i can relate to how much the characters want to escape from the plastic, cookie cutter life the suburbs provide.
Now this movie wasn't perfect by any means. Watching the film, it becomes obvious that this is Walker's first attempt at direction. Lackluster acting and bad dialog plague this film as slopping editing. Although halfway through the film i started seeing a significant improvement in the films quality as they become more comfortable acting and directing. The film severely redeemed itself in its second half from horrible to okay. I also had problems with Character development. So many characters were left UNDER developed. I knew so little about the supporting cast, while there were several tries to further develop them, they fell flat. As far as editing, there was tons of scenes and subplots that could have been left on the floor that could have made this nearly 2 hour long movie a more bearable 90 minute film. The subplot with Matt and his teacher did nothing for me what-so-ever, and felt pushed. Only in the film to give it more edge. Putting more drug usage would have made this film more believable and given it more credible "edge" that it needed.
Overall, this PG-13 KIDS set in the suburbs, was and alright indie film. I think this film will find its cult audience in the suburban kids it portrayed. A muddy first film, that will definitely will find its place among fans of the punk rock classic SUBURBIA, directed by Penelope Spheeris, who went on to do a great many films. So watch out for up and comer Clark Walker as i expect he may have a few more excellent films up his sleeve.
The thing that I liked best about this movie was its heavy 80's era punk soundtrack. Sporting Black flag, Minutemen, Replacements and more. Overall the general storyline is easy to follow and works well. Being a kid from the suburbs i can relate to how much the characters want to escape from the plastic, cookie cutter life the suburbs provide.
Now this movie wasn't perfect by any means. Watching the film, it becomes obvious that this is Walker's first attempt at direction. Lackluster acting and bad dialog plague this film as slopping editing. Although halfway through the film i started seeing a significant improvement in the films quality as they become more comfortable acting and directing. The film severely redeemed itself in its second half from horrible to okay. I also had problems with Character development. So many characters were left UNDER developed. I knew so little about the supporting cast, while there were several tries to further develop them, they fell flat. As far as editing, there was tons of scenes and subplots that could have been left on the floor that could have made this nearly 2 hour long movie a more bearable 90 minute film. The subplot with Matt and his teacher did nothing for me what-so-ever, and felt pushed. Only in the film to give it more edge. Putting more drug usage would have made this film more believable and given it more credible "edge" that it needed.
Overall, this PG-13 KIDS set in the suburbs, was and alright indie film. I think this film will find its cult audience in the suburban kids it portrayed. A muddy first film, that will definitely will find its place among fans of the punk rock classic SUBURBIA, directed by Penelope Spheeris, who went on to do a great many films. So watch out for up and comer Clark Walker as i expect he may have a few more excellent films up his sleeve.
Zach Stanley is coming of age in a Texas Company town of subdivisions and strip malls. He spends most of his waking hours in school or "shredding" with his pals at the local skating venues. He's also worried about his clinically depressed older brother, his single mom on the verge of losing her job. Add to the mix the not unwelcome romantic advances of his high school English teacher.
Moreover, Zach feels that there is more to life than what he sees the local adults settling for. He is beginning to worry about his future and his current lack of any plans that measure up to the potential that everyone is telling him he has.
This film seems to be a realistic and not wholly dark view of coming of age in this type of white bread American environment. It will probably strike a chord with many teens and their parents while also providing some very well done skateboarding sequences.
Kudos to Clark Walker on his directorial debut.
Moreover, Zach feels that there is more to life than what he sees the local adults settling for. He is beginning to worry about his future and his current lack of any plans that measure up to the potential that everyone is telling him he has.
This film seems to be a realistic and not wholly dark view of coming of age in this type of white bread American environment. It will probably strike a chord with many teens and their parents while also providing some very well done skateboarding sequences.
Kudos to Clark Walker on his directorial debut.
I was VERY hesitant on renting this movie. I am a big skateboard fan, but movies about it usually suck, but I said what the hell and rented it. I found the first 5 minutes to be very "sudo", trying way too hard to have sophisticated, intellectual dialogue. And the whole scene with the teacher talking about life with the pyramid of V's on the chalkboard made sense, but it was pretty stupid. But, the plot was pretty good and the acting was decent. Levelland also had a pretty good soundtrack featuring Black Flag and I thought I heard some Bad Religion, but I could be wrong. So, if you like punk rock, cool skate scenes, and can handle some annoying dialogue and mediocre actors, then I suggest watching Levelland. I'd probably watch it again.
Remember the Summer of '42? This is supposed to be the Summer of 2002!
It's pretty obvious from the beginning of "Levelland" that Texas writer/director Clark Lee Walker is sucking at the tit of Linklater. His dialogue is straight out of "Slacker" where disenfranchised teenagers talk disparagingly about their hometown and their lives. Trouble is, Walker doesn't have nearly the ear for teenage realism that Linklater has, nor does he have the ability to cast actors well, so his film sounds more like some stilted, sophomoric attempt at being Linklater than it does the genuine article.
And before I'm accused of "easy criticism," let me offer this truth: I saw "Levelland" before I knew who Walker was. And I conceived of these criticisms in my own mind, well before I knew that he even worked with Linklater. This was before I realized he was in "Slacker" and co-wrote "The Newton Boys" and worked on "SubUrbia" and "Before Sunrise."
There are other Linklateresque things about the film as well. After opening with dialogue that is obviously inspired by "Slacker" (and continuing it throughout the film), Walker turns the film into a remake of "Dazed and Confused." The focus here is a group of teenagers (albeit getting the whole summer rather than just the last day of school) discussing their lives and the meaninglessness of it all. There's even the resident "stoner" type goof who says things like "Dude" and "Party" and stuff. (In an even more horrifying moment, he's shown to be a "Mexican" who has a ratty house and a "crazy" mother. But that's okay because, as we've learned from "Raising Victor Vargas" and "Real Women Have Curves," all Mexicans have crazy mothers, right?)
""Levelland" starts off with problems. Not only is the acting and the dialogue stilted, but the film begins as if it is going to be some sort of skateboarding movie. And, lets face it, the skateboarding in the movie is downright dull and event-less. These kids couldn't skateboard their way out of a wet pool, let alone a dry one. But, this criticism begins to lack merit as the film evolves. After 30 minutes or so, it becomes obvious that Walker here is trying to present a story of disaffected youth during a Texas summer. His characters aren't supposed to be master skateboarders. They're supposed to be na > spends far too much time lovingly caressing their skating moves with his camera. It gets boring. And at 2 hours, "Levelland" needs all the help it can get to not be boring.
Another problem with the film is the use of music. For a while, I thought maybe Walker was presenting a story supposedly set in the early 80's because the film is peppered (assaulted, really) with late 70's punk music. Now, I love this music, but I find it hard to believe that kids today in East Texas are spending their summers jamming to "New Waves Greatest Hits" compilation CD's. I had to do some head scratching and try to remember things in the film that proved to me that this was supposed to be modern day. Eventually I remembered words like "DVD player" being used. And then a new Volkswagen Beetle appeared as a character's car in the film, so I knew this was supposed to be present day. Ipso facto, the music is really unrealistically used in this film. That isn't to say I didn't like it or that I thought it wasn't used effectively during music montages. A scene that uses Elvis Costello's "Peace, Love and Understanding," is indeed quite nice. It just doesn't seem realistic when the characters are sitting listening to their portable CD players and they've got some old 70's punk song.
This film goes on way too long and has a lot of problems but I couldn't help liking it for one reason and that reason is Marie Black. Recognizable to Austin film aficionados immediately as the female lead in Jeff Stohland's "What I Like About you," Black is perhaps the best actress working in Austin films today. Her character here is bold, well drawn, realistic and emotionally raw. Her interaction with young actor Matt Barr, who gradually gets better as the film gores on, are so open and real and blatantly emotional that the film almost becomes embarrassing. In fact, the audience of tittering idiots I saw the film with at SXSW in 2003 couldn't stop giggling at Black's character every time she appeared on screen because her motivations and her feelings were so real and obvious. This is not to say her performance is lacking, rather the audience that I saw the film with was lacking. What a bunch of sophomoric jerks.
Of course, Walker's script and his editing job didn't help Black much. When teenage Barr's mother leaves on a business trip and Black's car appears in his driveway immediately afterward, it rings horribly contrived. When she sneaks in his house, disrobes and seduces him, seemingly without knowing who's in the house, she appears to be an idiot. It is only Black's amazing performance that bolts through Walker's bullshit and poor work to suspend this film above the "Levelland" of mediocrity that it often sinks to. She even helps Barr to elevate his talents almost to her level. Their scenes together are fierce and unafraid and the duo deserves many accolades for the chances they were willing to take with the material.
"Levelland" is a pretty bad film and Walker shows that he has much work to do to be taken seriously as a filmmaker. Still, as the film went on, and the actors got better and the plot got more interesting, I became more involved. And as the focus turned onto Barr's Zach character and his relationship with the older Black, the film eventually started to win me over. Too bad the actors were in a film by a filmmaker who did seemingly everything in his power to negate their work.
Notes:
Also with Jessica Schwartz and newcomers Simon Bingham, Logan Camp (or is it Logan Taylor?), Jason Juranek, and Erik McKay.
Richard Linklater is thanked in the film as is The Dobie Theater and its current manager Keith Garcia.
Viewed in March 2003 at the SXSW Film Festival.
Report Card
Script: D+
Acting: B+
Cinematography\Lighting: C-
Special Effects\Make Up: D-
Music: D-
Final Grade: C+
It's pretty obvious from the beginning of "Levelland" that Texas writer/director Clark Lee Walker is sucking at the tit of Linklater. His dialogue is straight out of "Slacker" where disenfranchised teenagers talk disparagingly about their hometown and their lives. Trouble is, Walker doesn't have nearly the ear for teenage realism that Linklater has, nor does he have the ability to cast actors well, so his film sounds more like some stilted, sophomoric attempt at being Linklater than it does the genuine article.
And before I'm accused of "easy criticism," let me offer this truth: I saw "Levelland" before I knew who Walker was. And I conceived of these criticisms in my own mind, well before I knew that he even worked with Linklater. This was before I realized he was in "Slacker" and co-wrote "The Newton Boys" and worked on "SubUrbia" and "Before Sunrise."
There are other Linklateresque things about the film as well. After opening with dialogue that is obviously inspired by "Slacker" (and continuing it throughout the film), Walker turns the film into a remake of "Dazed and Confused." The focus here is a group of teenagers (albeit getting the whole summer rather than just the last day of school) discussing their lives and the meaninglessness of it all. There's even the resident "stoner" type goof who says things like "Dude" and "Party" and stuff. (In an even more horrifying moment, he's shown to be a "Mexican" who has a ratty house and a "crazy" mother. But that's okay because, as we've learned from "Raising Victor Vargas" and "Real Women Have Curves," all Mexicans have crazy mothers, right?)
""Levelland" starts off with problems. Not only is the acting and the dialogue stilted, but the film begins as if it is going to be some sort of skateboarding movie. And, lets face it, the skateboarding in the movie is downright dull and event-less. These kids couldn't skateboard their way out of a wet pool, let alone a dry one. But, this criticism begins to lack merit as the film evolves. After 30 minutes or so, it becomes obvious that Walker here is trying to present a story of disaffected youth during a Texas summer. His characters aren't supposed to be master skateboarders. They're supposed to be na > spends far too much time lovingly caressing their skating moves with his camera. It gets boring. And at 2 hours, "Levelland" needs all the help it can get to not be boring.
Another problem with the film is the use of music. For a while, I thought maybe Walker was presenting a story supposedly set in the early 80's because the film is peppered (assaulted, really) with late 70's punk music. Now, I love this music, but I find it hard to believe that kids today in East Texas are spending their summers jamming to "New Waves Greatest Hits" compilation CD's. I had to do some head scratching and try to remember things in the film that proved to me that this was supposed to be modern day. Eventually I remembered words like "DVD player" being used. And then a new Volkswagen Beetle appeared as a character's car in the film, so I knew this was supposed to be present day. Ipso facto, the music is really unrealistically used in this film. That isn't to say I didn't like it or that I thought it wasn't used effectively during music montages. A scene that uses Elvis Costello's "Peace, Love and Understanding," is indeed quite nice. It just doesn't seem realistic when the characters are sitting listening to their portable CD players and they've got some old 70's punk song.
This film goes on way too long and has a lot of problems but I couldn't help liking it for one reason and that reason is Marie Black. Recognizable to Austin film aficionados immediately as the female lead in Jeff Stohland's "What I Like About you," Black is perhaps the best actress working in Austin films today. Her character here is bold, well drawn, realistic and emotionally raw. Her interaction with young actor Matt Barr, who gradually gets better as the film gores on, are so open and real and blatantly emotional that the film almost becomes embarrassing. In fact, the audience of tittering idiots I saw the film with at SXSW in 2003 couldn't stop giggling at Black's character every time she appeared on screen because her motivations and her feelings were so real and obvious. This is not to say her performance is lacking, rather the audience that I saw the film with was lacking. What a bunch of sophomoric jerks.
Of course, Walker's script and his editing job didn't help Black much. When teenage Barr's mother leaves on a business trip and Black's car appears in his driveway immediately afterward, it rings horribly contrived. When she sneaks in his house, disrobes and seduces him, seemingly without knowing who's in the house, she appears to be an idiot. It is only Black's amazing performance that bolts through Walker's bullshit and poor work to suspend this film above the "Levelland" of mediocrity that it often sinks to. She even helps Barr to elevate his talents almost to her level. Their scenes together are fierce and unafraid and the duo deserves many accolades for the chances they were willing to take with the material.
"Levelland" is a pretty bad film and Walker shows that he has much work to do to be taken seriously as a filmmaker. Still, as the film went on, and the actors got better and the plot got more interesting, I became more involved. And as the focus turned onto Barr's Zach character and his relationship with the older Black, the film eventually started to win me over. Too bad the actors were in a film by a filmmaker who did seemingly everything in his power to negate their work.
Notes:
Also with Jessica Schwartz and newcomers Simon Bingham, Logan Camp (or is it Logan Taylor?), Jason Juranek, and Erik McKay.
Richard Linklater is thanked in the film as is The Dobie Theater and its current manager Keith Garcia.
Viewed in March 2003 at the SXSW Film Festival.
Report Card
Script: D+
Acting: B+
Cinematography\Lighting: C-
Special Effects\Make Up: D-
Music: D-
Final Grade: C+
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