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 »
Follows tour guide, historian and flâneur Timothy 'Speed' Levitch as he visits the monumentally ignored monuments of America's cities, from the shoe gardens of San Francisco to the luckiest subway grate in New York City.
Timothy 'Speed' Levitch,
John C. McDonnell,
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>
The bar scene was shot with a Fisher-Price PixelVision camcorder. See more »
"Video Playing Store Security" character gets a haircut and grows a thin moustache while exiting the building. See more »
To me, my thing is, a video image is much more powerful and useful than an actual event. Like back when I used to go out, when I was last out, I was walking down the street and this guy, that came barreling out of a bar, fell right in front of me, and he had a knife right in his back, landed right on the ground and... Well, I have no reference to it now. I can't put it on pause. I can't put it on slow mo and see all the little details. And the blood, it was all wrong. It didn't look like blood....
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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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