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: 15 [See Full Rating] for language, violence, sexual material and some drug content.
Runtime: 2 hrs 24 mins
Genre: Science-Fiction/Fantasy
Theatrical Release:07-12-2007
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
Reviews for Southland Tales
Whether this is a demented B-movie or a comment on demented B-movies is hard to say. It is horribly fascinating, if not for the full 150 minutes.
There's enough happening here to fuel an entire TV series, with melodramatic excesses, wild mood swings and sitcom-style slapstick.
They've left it late, but writer-director Richard Kelly (Donnie Darko) and his team have gone and scooped The Independent's Worst Film of 2007 award – against stiff competition, too.
Southland Tales finally emerges as an admirably bold dud. Trying to sum up EVERYTHING that’s wrong in the world in one kaleidoscopic go, it’s messy, misshapen and curiously muffled. Seems the world does end with a whimper after all.
By the climax, his truly ambitious, truly flawed film finally disappears into the ‘time-space rift’ (or whatever) to achieve some sort of cosmic transcendence.
A hypnotic disaster that's truly fascinating - if only for all the wrong reasons.
The film has a dated feel – it has more in common with 1960s-style wacky satire than the cutting edge of 21st-century cinema.
Compared to the seemingly unsalvageable disaster Kelly screened at Cannes, this overcooked folly is a miraculous, Frankensteinian resurrection. Maybe this is grading on a curve, but I'd always rather have an excess of ambition than the opposite.
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.
Reminiscent of the fiction of Kurt Vonnegut, with its mix of sci-fi mythology, absurdist humor and political outrage.
A gonzo, unsettling, semi-coherent, barnstorming near-masterpiece that had me glued to my seat in anticipation of witnessing how far this multi-dimensional funhouse of madness could go.
This is not just another hodgepodge of a movie that's all noise and excess; writer/ director Richard Kelly has a point here; he has plenty to say.
As the plot becomes more convoluted and the movie goes haywire, what saves it are its sardonic details.
Ultimately no more than an agglomeration of such high-caloric, giddy treats.
There are so many ideas sliding into Kelly's swirling vortex of pop culture overload and apocalyptic forecasting that it's understandable not to find coherence in it.
The very incoherence of Southland Tales is something like an argument, its many pieces and pronouncements a deconstructive challenge to world order.
In a world of mediocre, formulaic fare that is like everything else that has come before it, Southland Tales stands invigoratingly apart from the crowd. It's ballsy, fascinatingly different and thoroughly commendable.
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