He doesn't want to go anywhere with them. In a sense, Linklater has invented his whole style in order to listen to these people. Listen to them and you will learn how things really are. They have special knowledge, occult beliefs, revolutionary health practices. We are listening in on a whole stratum of American life that never gets paid attention to in the movies - the people who believe the things they read in magazines sold in places that smell like Vitamin B. We don't get a story, but we do get a feeling. This sounds like an annoying method, but actually it's rhythmic and soothing - and funny - as Linklater moves through an apparently unlinked assortment of people, including a thief who is buttonholed by his victim and taken for a walk a man who "knows" that one of the moon astronauts saw an alien spacecraft, but his radio transmission was cut off by NASA a woman who owns a vial containing the results of an intimate medical procedure carried out on Madonna, and various folk singers, strollers, diners, sleepers, paranoids, do-gooders, quarreling couples, friends, lovers, children and conspiracy theorists. Then, outside again, we follow some passersby until they.
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We join the driver of this car in his flat, until he is arrested by police and charged with running down his mother. As help is called, the camera moves in a leisurely circle until it regards a rooming house just as the same hit-and-run car pulls up in front of it. He drops off his fare just as a car speeds away and some passersby find a woman hit-and-run victim in the street. Example: Early in the film, a taxi driver picks up a fare (Linklater), who hangs over the back seat and expounds at length on his theory that every time you think of a possibility, that possibility becomes a separate reality on some other level of existence. Linklater does the same thing at a speeded-up pace that allows him to carom through the slacker community of Austin, Texas, like a cue ball with a camera. Surrealist directors such as Luis Bunuel, in moves like " The Phantom of Liberty," would follow one story for a scene or so, and then - when the characters bumped into another group of people - spin off and follow them for awhile, and so on until the end of the movie. So he has borrowed an excellent technique from the surrealists and pushed it to its logical conclusion. Seen today, it looks pretty ragged, and, in truth, it looks a bit old, but not so much that some of today's disaffected youth wouldn't get something worthwhile out of it.Linklater wants to watch these people and listen to them, but he does not much want to get involved in their lives, or follow them through the mechanics of a plot. Slacker was a mini-phenomenon, highly influential in some circles, inspiring artists ranging from filmmaker Kevin Smith to the band R.E.M. Some semi-famous musicians and artists were cast for the ultra-hip to identify. Linklater shot cheaply, with many long takes and relatively few cuts, and even a scene shot on a Fisher Price PixelVision camera.
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They are, for the most part, smart and idealistic, but are unable to figure out how to make all that work in the real world - a mindset that is instantly identifiable to nearly any big-city college grad. Each new character lasts only a few minutes, but the bigger picture is one of the most memorable movies about young people trying to find themselves. Actors appear and deliver dialogue that's either hilariously banal or hilariously detailed, and then disappear, never to be seen again, while someone in the background suddenly becomes the new main character. Funny and appealingly weird, this was the 1991 breakthrough feature by Richard Linklater ( Boyhood), taking a clever, almost experimental approach to a snapshot of disaffected youth of the time.
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