A bold and sometimes garbled take on modern American politics, this nevertheless marks an effective and surprisingly funny comeback for a film that many deemed to be DOA.
Southland Tales (2007)
Tomatometer
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Reviews Counted:91
Fresh:33
Rotten:58
Average Rating:4.5/10
Consensus: Southland Tales, while offering an intriguing vision of the future, remains frustratingly incoherent and unpolished.
Rated: R [See Full Rating] for language, violence, sexual material and some drug content.
Runtime: 2 hrs 24 mins
Genre: Science-Fiction/Fantasy
Theatrical Release:Nov 14, 2007 Wide
Box Office: $227,365
Synopsis: Director Richard Kelly’s follow-up to 2001’s surprisingly popular DONNIE DARKO is a sprawling dystopian satire featuring an all-star cast and a storyline that splinters off into strange and... Director Richard Kelly’s follow-up to 2001’s surprisingly popular DONNIE DARKO is a sprawling dystopian satire featuring an all-star cast and a storyline that splinters off into strange and unexpected places. The film begins with a nuclear explosion in Texas, which sparks a full-scale war between the U.S., the Middle East, and North Korea. Kelly’s central character is action-movie star Boxer Santaros (Dwayne "The Rock" Johnson), who is suffering from a bout of amnesia upon returning from the desert. His reasons for being in the desert are hazy, but he’s hooked up with porn star Krysta Now (Sarah Michelle Gellar), and together they have written a screenplay about the end of the world. Santaros tries to prepare for the film by taking a ride with a cop named Taverner (Sean William Scott). But the cop is actually Taverner’s twin brother, who is working for a shadowy group of neo-Marxists who are trying to overthrow the government. Meanwhile, a brilliant scientist (Wallace Shawn) unveils an incredible new energy source, the end of the world as predicted by the Book of Revelations draws ever closer, and Justin Timberlake (who plays an Iraqi war veteran) provides a voiceover that fills in some of the gaps. As the film builds to its explosive climax, the reasons for Santaros’s time in the desert become clear, and the various strands of the plot are brilliantly woven together. SOUTHLAND TALES is packed with ideas, tangents, song-lyrics-as-dialogue (in particular, "Three Days" by Jane’s Addiction), cameos from established stars, and plenty of references to the post-9/11 political landscape. Kelly’s film is bursting with imagination, and it will undoubtedly need multiple viewings for everything to sink in. Comparisons to films as varied as Richard Linklater’s A SCANNER DARKLY and David Lynch’s DUNE are valid, but Kelly’s movie inhabits a wonderful world of its own, and is one of 2007’s most unique and inspiring pieces of filmmaking. [More]
Starring: Dwayne Johnson, Seann William Scott, Sarah Michelle Gellar, Nora Dunn
Starring: Dwayne Johnson, Seann William Scott, Sarah Michelle Gellar, Nora Dunn, Christopher Lambert, John Larroquette, Bai Ling, Jon Lovitz, Mandy Moore, Holmes Osborne, Cheri Oteri, Amy Poehler, Lou Taylor Pucci, Miranda Richardson, Wallace Shawn, Kevin Smith, Justin Timberlake, Abby McBride
Director: Richard Kelly
Director: Richard Kelly
Screenwriter: Richard Kelly
Producer: Sean McKittrick, Bo Hyde, Kendall Morgan, Matthew Rhodes
Composer: Moby
Studio: Samuel Goldwyn Films
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Reviews for Southland Tales
No doubt some will dismiss it as an overlong, incoherent mess, but others (myself included) will emerge, bleary-eyed and brain-battered, just wanting to see the whole thing all over again.
If Mulholland Drive had a prettier, younger, and developmentally-challenged sister, it would be Southland Tales.
Richard Kelly's 'Southland Tales' Looms as rude, Confrontational Political Black Comedy about a Very Messed-Up, Dystrophian America - a Film with the Vigor and Incorrigible Quality of a Work-In-Progress.
Southland Tales really is a guy movie, right down to all the sci-fi, comic book and porn references...
It’s as though Kelly has taken all his obsessions and interests and tried to jam them into one narrative, no matter how admirably diverse and incompatible they are.
An incomprehensible, self-indulgent mess of post-apocalyptic anxiety and political paranoia, a confusion of half-baked social critiques, pop-culture references, sci-fi whimsicalities, and anti-corporate satire straining for significance.
Richard Kelly’s wildly ambitious and widely loathed Southland Tales now seems among the most believable works of film futurism ever made in this country.
One of the most confusing, ridiculous, pretentious and disastrous cinematic train wrecks I’ve ever seen.
Unlike the world, Southland Tales starts with a bang but ends with a whimper. Richard Kelly's opus of a film is little more than sensory overload meant to look like a political statement on the state of privacy, the war, news and celebrities.
It's not hard to understand. It's just who would care about what this is about?
Southland is ridiculous in much the same way the Austin Powers movies are, but it's played straight.
By the time the movie rolls into its third hour, it's exhausted most of its comic energy, leaving you disoriented and unable to remember much of what you just saw.
The actors barely comprehend their lines. The pop-culture references are lame. Nearly every moment falls flat. And it's boring.
No amount of reworking could salvage what was a misbegotten and unfunny idea to begin with.
Even if the world Kelly's concocted always seems screamingly incoherent, you have to hand it to him. He's made a movie of our messy times that's too ambitious to settle for merely capturing the mess. It actually is the mess.
A rambling and incoherent vision of the near future, Southland Tales proves a major disappointment from the talented Richard Kelly.
Consequently, I can recommend it to 'enhanced interrogation' practitioners who are tired of waterboarding.
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