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Overall Rating
4.05

Awesome65.79%
Worth A Look: 7.89%
Average: 7.89%
Pretty Bad: 2.63%
Total Crap: 15.79%

3 reviews, 20 user ratings


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Southland Tales
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by Rob Gonsalves

"Have a nice Apocalypse Now."
5 stars

Is it true that we learn more from mistakes than from successes? I don't know. What I do know is that Richard Kelly's "Southland Tales" is a folly the cinematic equivalent of a big mistake but it's a great folly, one that might redefine what we mean by failure at the movies.

If Kelly's Donnie Darko was his London Calling, Southland Tales has to be his Sandinista! a vast, sloppy, overarching experiment only without Sandinista!'s critical acclaim. Many reviewers, and I can't really blame them, greeted Southland Tales with uncomprehending hostility and scorn. Here, after all, was not only an epic it was only the second half of an epic, preceded by a trilogy of graphic novels collected as Southland Tales: The Prequel Saga. What you get in the film is the final three chapters, truncated by some twenty minutes from the version that was screened, ignominiously, at Cannes. What's left is a semi-coherent poetic riff on the Bush administration, vaultingly ambitious and allusive (not to mention elusive), in which political satire consorts haphazardly with scatological humor (there's a running thing about people who can't piss or shit no matter how much they ingest).

Southland Tales overdoses on the minutiae of the world Kelly creates; he focuses on the backstory and the technological rules of this new, post-nuke universe (we're told Abilene and El Paso took the hot one on July 5, 2005) to the exclusion of getting inside his characters, who mostly spout jargon or gibberish much like George Lucas' Star Wars prequels, come to think of it. To that end, Southland Tales is a critique, intentional or not, of the incomprehensible mammoths we get every summer. Try to imagine going into The Phantom Menace without any prior awareness of the original Star Wars trilogy that's Southland Tales.

In recent years, when an idiosyncratic young director makes a modest little film that goes on to find a cult on video, that director's sophomore effort tends to be twice as dense and lengthy as the debut; the director may think, "Well, I may never get this chance again I'd better shoot for the moon, pack as much as I can into one movie." Quentin Tarantino led with the minimalist Reservoir Dogs, then made the triptych Pulp Fiction; Paul Thomas Anderson's first film was the tiny, effective three-character study Hard Eight, which he chased with the vast ensemble piece Boogie Nights.

Kelly's follow-up to Donnie Darko compiles everything he wants to say about the deranging looking-glass of the Bush years. It is, on one level, a reductio ad absurdum of America's overreaction to 9/11, handing unprecedented power to the president ostensibly to keep us safe but really to give up more freedom and privacy. As with most dystopian visions, the events in Southland Tales are, shall we say, exaggerated. We're in World War 3 now, fighting five countries, though still not sure who actually set off the bombs. The oil is almost gone, so we have turned to a new fuel called Fluid Karma, which can also be used as a drug (shades of Dune and its multi-purpose spice) that allows people, once sufficiently addicted, to move backwards and forwards in time. The Democrats are no longer liberal enough, so a splinter group called the Neo-Marxists plot and kidnap and shout slogans. The characters are all pieces on a vast eschatological chessboard, pursuing their own agendas; many of the characters are doubles, or echoed in a screenplay written by a porn star, which may or may not be an actual prophecy.

Kelly starts with a political satire and then complicates it madly; the subplots cheerfully metastasize and comment on each other. Southland Tales does not lend itself to synopsis or even to discussion of its characters or the cast the whole thing is a joke, an ungainly meta-narrative that seeks to immerse us in the insanity and illogic of our own reality just slightly removed. To get the most out of it, I would suggest simply rolling with it, grooving on the sheer fecund clottage of it, and not straining to parse the huge thing scene by scene. Southland Tales has been described as wild and nonsensical so many times that one might expect a rabid, hyperactive wildebeest of a movie, but most of it is actually rather becalmed and emo slow, some would say. Kelly has mastered a particular mood of melancholy chaos, a sense of many lives blighted by forces they can't hope to control. This mood was, of course, dominant throughout Donnie Darko, though it was easier to take because it was all filtered through Donnie. Southland Tales is essentially Donnie Darko without Donnie, without a central figure to pin one's identification on.

Boxer Santoros (Dwayne Johnson), the amnesiac former football star turned action-movie star, probably comes closest to that central figure; other times, though, the focus shifts to the twin brothers Roland and Ronald Taverner (Seann William Scott), the former a kidnapped Los Angeles cop, the latter used as his stand-in for a Neo-Marxist scheme. Are they really twin brothers, though? Who can say? There's a reason the third result you get when you Google Southland Tales is "Southland Tales explanation." The aforementioned porn star, Krysta Now (Sarah Michelle Gellar), is in cahoots with one side or another, and she seems to be controlling Boxer's life and his very identity. The narrative suggests Pynchon, Dick, and Vonnegut thrown into a blender, with a sprinkling of Saturday Night Live veterans, plus Justin Timberlake, in the generally acknowledged stand-out performance, as a scarred Iraq War veteran who narrates the film, injects his share and everyone else's of Fluid Karma, and broods atop a gun turret. In a drug-induced fantasy that makes about as much sense as anything else in the film, Timberlake lip-synchs the Killers' "All These Things That I've Done" while nurses dance around him.

The brilliance of Southland Tales is inextricable from its flaws, if indeed they are flaws. One could say it's overlong and overstuffed and confusing, but if the film is intentionally those things if Kelly has delivered the movie he wanted to make who's to say it's a failure? All the things its detractors slammed it for not being I'm not sure it was ever supposed to be those things. A folly like this demands to be viewed on its own one-off terms, demands to be assessed for what it is, not what it isn't. And what it is, to me, is the first half of the first decade of the 21st century stirred up into a giant stew of speculative dread and loathing, wedded to techno-mystico jazz riffs of the sort that, it's clear by now, Kelly can't help returning to again and again. Really, if you want to understand Southland Tales, the graphic novels you should read aren't The Prequel Saga but Howard Chaykin's American Flagg; this movie is like a dour, sexless (for all the porno talk, hardly anyone gets it on except for two cars in a commercial) extrapolation of Chaykin's vision of future America as a neon-sickened city that never blinks.

Maybe "Southland Tales" needed a wisecracking Reuben Flagg. Or maybe not. Maybe all it needs is time to build a cult of appreciative viewers. Like a lot of dystopian fiction, "Southland Tales" is really more about when it was made than about any putative future. It stands now, of course, as a demented alternate history, but it's also a creative nervous breakdown in response to 9/11 and subsequent events. As such, it does not need to make sense; it does not need to have "relatable" characters or even an ending; it does not need to "entertain." It's "Apocalypse Now" for the Twitter generation, and either you go with it or you don't.

link directly to this review at http://www.efilmcritic.com/review.php?movie=16687&reviewer=416
originally posted: 11/08/09 10:10:53
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OFFICIAL SELECTION: Fantastic Fest 2007 For more in the Fantastic Fest 2007 series, click here.

User Comments

6/12/12 Flipsider An overcomplicated farce that in the end doesn't have much to say. 3 stars
2/05/12 Ryan Marshall Hated this movie. Kelly has intriguing ideas but lacks proper execution. 1 stars
5/07/11 Laks Surrealism at it's finest. This movie made no sense, and that is what makes it so good 4 stars
1/24/11 Joe Nelson Great Directing, Acting, Story, Everything was Great. 5 stars
12/31/10 Josh I appreciate this film greatly, it is an epic, a modern epic at that 5 stars
8/13/10 Zephyr J This flick gave me brain cancer - AVOID!!! 1 stars
3/10/10 Richard Brandt Kind of like an elaborate 90's miniseries that didn't make the cut 3 stars
2/22/10 King Contra YA i like it 4 stars
1/20/10 Andrew Shearer FINALLY! Someone besides me loves this film! 5 stars
11/29/09 B Rage I like the surreal atmosphere. It's a trip, no less. 5 stars
11/28/09 John B Clever movie, worth seeing. You'll need to watch it twice to catch all the madness. 4 stars
11/13/09 Green A deliberate mess and, therefore, genius! 5 stars
8/19/09 TreeTiger 2 hours and 20 mins. of pure, unfiltered cinematic CRAP..! 1 stars
12/08/08 Lee beautiful, crazy, well written film, idiots will not like it though. 5 stars
11/24/08 Shaun Wallner This movie stinks!! 5 stars
4/10/08 Michael holy fuck, I had some hopes for this, but what a horrifying embarrassment for all concerned 1 stars
3/26/08 Charles Tatum An abominable milestone in cinematic history 1 stars
3/20/08 Jefenator The emperor's new 144-minute feature film. 2 stars
3/19/08 JJ Gimp Kelly clearly wants to be like Terry Gilliam but fails on every level. 1 stars
3/08/08 matthew well, it was ok. the plot got irritating quickly though and the casting is just bizarre 3 stars
IF YOU'VE SEEN THIS FILM, RATE IT!
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USA
  14-Nov-2007 (R)
  DVD: 18-Mar-2008

UK
  07-Dec-2007

Australia
  N/A




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