Great premise, great atmosphere and a wonderfully cool film. An offbeat tour of a town. People who were largely excluded from popular culture. My gripe is that some of the conversations haven't aged well. Many characters come across as blowhards. Hipster doofuses. I understand that was at least part of the intention, but you know.
Considering the class of films that make the camera into a character, I'd have to say this film contains my favorite character of all time. Linklater's camera in SLACKER is curious, sly, grinning, bemused, empathetic, humanistic & sarcastic. It's a boring film to some – to me, it's an ingenious way to connect a bunch of first-rate short stories, all of them a defiant celebration of smart losers. My favorite movie.
I've heard this is funny comedy with doodling conversation & loose atmosphere, but I'm very startled actually how complicatedly paranoiac, horrifyingly ominous this movie is. People who cling to insane conspiracy theories like Don Delillo, strange vanishing & absurd premonition of death, depression with enclosure by city called Austin, confrontational anxiety after cold war. For me, this is horror film. Depressing.
Ein normaler Hollywood Film lässt die Protagonisten in Phrasen sprechen, um sich dabei auf seine Geschichte zu konzentrieren. Aus seinen Slackers wurde DER Kinotyp der 90er und heute ist diese Art und Weise, über das Leben zu philosophieren längst im Mainstream angekommen. (Dazu gibts unsere Film List über das Kino von Richard Linklater auf der Empfehlungsseite unserer Videothek cinegeek.de
Its not out of line to claim that the Austin of the early nineties was comparable to San Francisco in 1967 as a kind of civic manifestation of a certain generational gestalt. Austin = it. It was a perfect microcosm for the new North American youth movement (which was no movement). Linklater offers a sly generational portrait. Austin and a day. The way Ulysses was Dublin and a day. Ulysses, incidentally, is quoted.