A nameless young character goes into travels to the country, meeting some acquaintances and strangers as well, having banal conversations, dedicating his existence into daily mundane ... See full summary »
Presents a day in the life in Austin, Texas among its social outcasts and misfits, predominantly the twenty-something set, using a series of linear vignettes. These characters, who in some manner just don't fit into the establishment norms, move seamlessly from one scene to the next, randomly coming and going into one another's lives. Highlights include a UFO buff who adamantly insists that the U.S. has been on the moon since the 1950s, a woman who produces a glass slide purportedly of Madonna's pap smear, and an old anarchist who sympathetically shares his philosophy of life with a robber. Written by
Rick Gregory <firstname.lastname@example.org>
REM reference Slacker in their song "What's The Frequency Kenneth?" The lyric "Richard said withdrawal in disgust is not the same as apathy" is a reference to the text written on one of the "oblique strategies" cards handed out by one of the film characters. However, the actual line from the film is worded slightly differently, as the card reads "Withdrawing in disgust is not the same as apathy". See more »
The cab door is clear, but later sports a large sticker. See more »
Should Have Stayed at Bus Station:
[babbling to silent cab driver]
Man, I just had the weirdest dream - back on the bus there? Did you ever have one of those dreams that are completely real. I mean they're so vivid. It's just like completely real. It's like, there's always something bizarre going on, though. I have one about every 2 years or something. I always remember 'em real good. Like there's always someone getting run over, or something really weird. Um, one time I had lunch with Tolstoy. Another time I was a ...
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At the end of the credits, the usual disclaimer is replaced with: "This story was based on fact. Any similiarity with fictional events or characters is entirely coincidental." See more »
The key to this movie is Linklater's taxi monologue
About quantum theory and Schroedinger's cat. Each time one potential outcome becomes the case, the other potentials collapse. But all other outcomes are thought to exist in alternate realities. Each time we become invested in one branch of the narrative, the camera takes us somewhere else. But the character we leave continues to exist and his or her story is assumed to continue -- only not before our eyes.
What do we think, or hope the cops found out from the guy who killed his mother. Something. Or other. All outcomes. And none.
Overthinking it? Perhaps. But this marvelous movie keeps teasing us along, making us think it's going to zig when it's going to zag. This reminds me of the joke about people who kept going back to see "Titanic" hoping that this time, maybe the ship won't sink. With "Slacker," the movie will always be the same, but it will never be the same movie because we can never remember exactly where or how it's going to branch.
I love this movie. I can't get enough of it.
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