Slacker (1990)

The critic highlights the film's distinctive baton-passing structure and its roster of eccentric, named characters as an inventory of Austin misfits and dreamers. It coalesces into a coherent, affectionate yet derisive portrait of principled nonparticipation that is nonstop fun on its wavelength.

The critic views Slacker as a profoundly philosophical film whose round-robin vignettes explore characters' worldviews and the sovereignty of the imagination, borrowing structure from classics like La Ronde while satirizing superficial radicalism and celebrating principled nonparticipation.

The critic calls it the most original and entertaining American independent debut of the year, praising its vivid definition of a generation of slackers and its cleverly planned yet apparently spontaneous fly-on-the-wall style.

The film is a freewheeling, documentary-style celebration of the eccentric residents of Austin, Texas, linked by chance encounters. It is oddly compelling despite feeling at times like someone else's home movies.

The film sharply divides audiences, with some seeing it as a groundbreaking snapshot of a lost generation and others finding it plotless and frustrating. It praises the collection of likeable drifters and Linklater's smart observations as making it one of a kind.

The film celebrates tedium and follows aimless slackers on an aimless tour of their lives with no plot. A very few characters have engaging raps, but most make for a long, boring evening.

The critic finds the film's meandering structure mimics its characters' detachment and limited attention spans, resulting in something mildly interesting but often boring. It singles out an ageing anarchist character for praise as the best creation, hinting at Linklater's potential.

The film is a series of unconnected vignettes following a hundred or so eccentric people in Austin. Some bits are very funny, but a certain monotony sets in after a while.

One of the freshest independent films in some time with a highly idiosyncratic non-narrative approach, though it will not be to all tastes. Interest rises and falls depending on who is on screen.