Rank 'Em: "Star Wars: Visions," Year Three

"Visions" is back with nine more shorts, working with mostly the same Japanese studios that produced the first season that premiered back in 2021.  Three of the new shorts are direct sequels to previous "Visions" installments, and I'd say that the quality is more consistently good this time out.   Without further ado, find my thoughts on each short below, ranked from best to least.  I watched the English language versions of all the shorts.

"The Duel: Payback" - Easily the best of the collection, as the Ronin teams up with a Twilek Sith, and fights a seriously warped rogue Jedi.  The combination of Japanese brush illustrations, feudal era aesthetics, and Star Wars concepts remains fabulous to look at.  Even the Ewok bits!  This has the best action and fight scenes of this season of "Visions" by far, and characters I'd love to get to know better.

"BLACK" - The shortest short is a psychedelic, violent "Star Wars" tribute that plunges us into the midst of the endless battle between the Empire and the Rebellion, with a snazzy jazz soundtrack.  This feels more like a combination of "Star Wars" and "Heavy Metal" than "Star Wars" and anime, though I appreciate the willingness to get experimental.  It's the most un-Disney piece made for Disney+ yet.  

"The Song of Four Wings" - This is one of the more visually impressive shorts, though there isn't much of a story to speak of.  The heroine, Princess Crane, rescues a little war orphan and the two of them and the Princess's loyal droid spend the rest of the short battling the Imperials, getting into chase and fight sequences, and making some really pretty explosions.  Bonus points for the X-wing transformation.   

"The Bounty Hunters" - The visuals here aren't the best, but the characters and story won me over completely.  We've got an anti-heroine with a heart of gold (voiced by Anna Sawai!), an assassin droid with two personalities, and a jerk of a villain who needs to be taken down. It's zippy and fun, the humor works, and it's definitely a "Star Wars" story, focusing on the scruffier side of the universe.       

"The Lost Ones" - This is a sequel to the first season's "The Village Bride," following the further adventures of the wanderer F as she tries to help out refugees on a different world.  This is a much more action-oriented story that delves in the background of F and gives her a worthy adversary.  There's nothing too fancy going on with the visuals or presentation, but it's all flawlessly executed.  

"Yuko's Treasure" - Here's another one from Kinema Citrus, about a little girl named Yuko who is protected and looked after by a big, cuddly bear droid named BILY.  It's a story aimed at smaller kids, or those who like to watch cute kids doing cute things, but the execution is solid.  I especially appreciate the kawaii design work that adapts "Star Wars" elements into much friendlier anime forms.     

"The Smuggler" - Studio Trigger's contribution this year is a very charming little adventure story where a smuggler helps out a prince in disguise.  I like the Jedi who shows up in this one, but otherwise the "Star Wars" imagery here is just for window dressing.  As a fan of older anime, the style was very nostalgic.  "The Smuggler" can't hope to match up to the more ambitious shorts, but I enjoyed it for what it was.  

"The Ninth Jedi: Child of Hope" - Naoyoshi Shiotani replaces Kenji Kamiyama as director for the follow-up to "The Ninth Jedi."  However, this one is much less interesting that the first installment, focusing on the character of Kara for what amounts to a generic kid-and-droid story.  It doesn't help that the English dub is pretty hard on the ears, with a squeaky heroine and a goofy droid that speaks in the third person.

"The Bird of Paradise" - I'm not a fan of the hybrid animation style, the immature protagonist, the awkward story structure, or the English language dialogue.  There are some lovely visuals, but often this feels more like a tech demo than a proper short film.  

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"Train Dreams" and "Jay Kelly"

More Netflix Oscar hopefuls today.

"Train Dreams" is the kind of contemplative, existential film that it's very difficult to do well.  Directed by Clint Bently, and based on a Denis Johnson novella, the story follows the life of a man in the late 1800s named Robert Grainier (Joel Edgerton), who spends long stretches working on railway construction and logging sites in Idaho.  The work is dangerous, and forces Robert to spend too much time away from his wife, Gladys (Felicity Jones), and young daughter, but their options are few.  

Nearly all of "Train Dreams" is set in nature, specifically in the seemingly endless forests of the American Northwest.  However, the intrusion of the workers brings all the ugliness of westward expansion, industrialization and environmental degradation with them.  Robert has a front row seat to instances of brutal racism and exploitation that haunt him through the years, and his life is marked by too much tragedy.  His friendships are rare and fleeting, and he spends years trying to find a sense of connection with the rest of humanity.  Robert is a quiet man, who avoids trouble and keeps to himself, so many of the particulars of his life are relayed to the audience via narration provided by Will Patton.  

The pleasures of "Train Dreams" chiefly involve the skill of the filmmaking in evoking an older, bygone era of America that has largely receded from the current cultural consciousness. Adolpho Veloso's cinematography is intimate and lovely when it needs to be, and occasionally awe-inspiring as it explores the pristine landscapes.  Robert has meaningful encounters with memorable characters played by William H. Macy, Kerry Condon, Paul Schneider, John Diehl, and others.  However, as much as I admire and appreciate the commitment to this slower, more thoughtful approach to looking back at a chapter of American history, I rarely found it compelling.  Joel Edgerton is an actor who's been very hit-or-miss for me, and without a stronger narrative, the tale of his subdued everyman just couldn't hold my interest.  "Train Dreams" ends up being a lovely cinematic elegy that I wish that I liked more than I did.          

On to "Jay Kelly," the Noah Baumbach film where George Clooney is playing a fictionalized version of himself in the middle of a midlife crisis.  Jay Kelly is a famous movie star who starts behaving erratically after he has a bad encounter with an old friend (Billy Crudup), learns his mentor (Jim Broadbent) has died, and is caught off guard by his youngest daughter Daisy (Grace Edwards) decamping for Europe with friends before she goes to college.  Jay decides to accept a career tribute being offered in Italy that he previously turned down, so he can follow Daisy to Paris, with his longtime manager Ron (Adam Sandler) and publicist Liz (Laura Dern) in tow.  As the tribute draws nearer, Kelly's thoughts stray to regrets about his past and anxieties about his future, while Ron attempts to contain the crisis.  It's a very star-studded picture, with many familiar faces in the cast, playing figures from Jay Kelly's past and present.    

"Jay Kelly" strikes me as a film with some glaring fundamental flaws, and I suspect that it only got made because Clooney said yes to starring in it.  I mean, it's a fine idea to have a self-critical Baumbach film examining the cost of stardom, and highlighting all the little oddities of being extremely famous people, while trying to navigate travel in foreign countries.  However, the story choices and tonal shifts make the film constantly feel like it's floundering, the humor rarely works as intended, and Jay Kelly is surrounded by more interesting characters.  Clooney has the movie star wattage turned up high for the first time in a long time, but it's Adam Sandler and Billy Crudup who deliver the best performances, and have the juicier parts to play.  The plotting is also very messy - does the film only take place in Tuscany because Baumbach is trying to evoke Federico Fellini?   

Frankly, there's not much about "Jay Kelly" that worked for me.  I found it confusing, underdeveloped, and a waste of some very talented people's time.  This was a big swing for Baumbach, and I want him to keep aiming high, but too many of the choices here are wrongfooted, and I know Baumbach's capable of something much smarter and more thoughtful.  Better luck next time. 

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"Wonder Man" Works

The "Wonder Man" miniseries, created by Destin Daniel Cretton and Andrew Guest, is being released under the "Marvel Spotlight" banner, meaning that it has very few ties to the wider MCU.   Frankly, it has more in common with "The Studio" than the last few Marvel pictures.  This is a superhero series where the hero barely does any fighting or uses any superpowers.  There's no love interest, no supervillain, and hardly any flashy special effects to speak of.  Most of "Wonder Man" turns out to be about two guys in Hollywood trying to get jobs.  

Yahya Abdul-Mateen II stars as Simon Williams, an actor who is constantly hustling for auditions in Hollywood, and is currently up for the lead in a reboot of an old superhero property, "Wonder Man."  However, Simon has a secret - he may actually have superpowers.  However, since nobody will insure a superpowered actor, Simon has to keep this under wraps or lose his dream of playing his favorite hero.  Unfortunately, a sinister figure (Arian Moayed) has noticed Simon's activities, and coerces a fellow actor to befriend and unmask him - the former Mandarin, Trevor Slattery (Ben Kingsley).  Over eight episodes, we watch Simon and Trevor bond over old movies and shared career aspirations, while Trevor secretly digs into Simon's past.

Even though this is a very weird take on a superhero story, "Wonder Man" works.  Abdul-Mateen and Kingsley make for a very good onscreen duo, and it's fun to watch their friendship develop.  I'm generally not a fan of media about actors, because I find stories about the acting process pretty insufferable.  Simon, who takes his roles too seriously, and gets himself fired from a job for overthinking and trying to change a bit part, initially had me worried.  However, the far more seasoned Trevor is soon there to set him straight and provide encouragement.  Soon they're trading movie monologues and industry stories, and getting involved in each other's business like old buds.

There's plenty of industry insider chatter, cinephile references, and a few delightful instances of famous actors playing themselves, but "Wonder Man" isn't really that concerned with showing us the ins and outs of show business.  The spotlight stays on Simon and Trevor for the most part.  This is key, because the show is so short and self-contained, there's not much of a chance for it to do anything too ambitious. So, it goes all in on building up its two leads and their attachment to each other, which was exactly the right move.  Once I realized that the show wasn't really about making the "Wonder Man" movie or even about Simon gaining enough self-awareness to be a better actor, I was onboard.  

This also feels like an oddly fitting time for a show about out-of-work actors, since the industry is weathering some tough times, Hollywood itself has been in especially bad shape, and everybody has been feeling the pinch.  Simon is pretty typical as far as fictional actors go - perpetually disappointing his agent Janelle (X Mayo), and incredibly intimidated by the director he needs to impress, Von Kovak (Zlatko Burić).  His personal relationships are also fraught.  However, Abdul-Mateen plays him like an overgrown, somewhat awkward kid without an ounce of cynicism or guile.  He's very easy to root for, and I wouldn't mind seeing more of him in the future.

As for Ben Kingsley as Trevor Slattery, I've liked the character since "Iron Man 3," and I'm ticked every time he shows up again in this universe.  It's clear why Kingsley keeps saying yes to more appearances.  Trevor's not a comic book character, but more like the third banana comic-relief on a sitcom.   He's the Oliver Putnam of the MCU, a perfectly cuddly old glory hound and name dropper who turns out to be more lovable the more screentime he gets.  "Wonder Man" is a perfect fit for him.

I'm afraid we're not going to be getting many more of these "Marvel Spotlight" shows in the future, which is too bad.  Being smaller scale and less ambitious really worked for "Wonder Man," and I'm sure there are plenty of other Marvel characters who could benefit from this approach too. 

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Love For a "Left Handed Girl"

"Left-Handed Girl" is a Chinese language drama set in Taipei, about a little girl named I-Jing (Nina Ye) with a complicated, tumultuous family.  Her mother Shu-Fen (Janey Tsai) and adult sister I-Ann (Shih-Yuan Ma) don't get along, for reasons that aren't clear to I-Jing.  Her mother runs a noodle stall in the night market, while her sister works for a betel nut vendor, and there's never much money despite all their efforts.  Sean Baker co-wrote and co-produced this film, but is taking a backseat to his long-time collaborator Shih-Ching Tsou, who directed, co-produced, and co-wrote it.  

Through I-Jing's eyes, Taiwan is a buzzy hive of perpetual activity.  Her family may be poor, but she's happy.  She makes friends with fellow merchant Johnny (Brando Huang), goes to school by day, and plays in the market by night.  She reconnects with her mother's parents (Akio Chen and  Xin-Yan Chao), who are constantly fretting over their daughter's life choices.  It's from her grandfather that I-Jing learns that her left hand is her "devil hand," and I-Jing's attempts to stop using it only seem to cause it to act out and cause trouble.  Or maybe it's because Shu-Fen and I-Ann's troubles can't help but spill over into her life, no matter how much they try to keep things from her.  

It's the cultural specificity that makes "Left-Handed Girl" feel like such a distinct creation from the Sean Baker oeuvre, even though it's using many of the same guerilla filmmaking techniques and character types.  Tsou's vision of Taiwan is a familiar one for me, not just because of the iPhone cinematography, or the child's-eye first person views previously seen in "The Florida Project," but because it captures many sides of Taipei that I'm well acquainted with.  The grandparents' apartment looks like my grandparents' apartment.  The city streets teeming with scooters, the endless night market, the restaurants, the clubs, the shops, and above all else the people are all exactly as I remember them.  A visit with the extended family means a constant stream of bickering, gossip, nostalgia, and rehashing of old grievances.  Little I-Jing can't help but be affected by all the money troubles, bad relationships, and family secrets.   

Mother-daughter relationships are at the crux of the film, specifically the antagonism, guilt, and frustrations that come with having to depend on one another during hard times.  As the films goes on, we learn a lot about Shu-Fen and I-Ann, who have both been through many difficulties in their personal lives.  The family is moving back to Taipei after an absence of several years, which forces them to confront parts of their past that they're not ready to deal with.  There are also several glaring absences - the most prominent being Shu-Fen's husband, who abandoned the family years ago and saddled them with debt.  Everyone keeps trying to treat the emotional fallout like it's a thing of the past, but the situation is very much ongoing, and ignoring it has consequences.  

The only thing that didn't ring true to me is that the melodrama gets to be a bit much, with several storylines converging at the end in a very messy, public way.  Having the specifics of the family situation unexplained worked much better for me in the early parts of the film, and the big reveals came off as forced and unnecessary.  Still, I liked all of the performers, and got very invested in the characters' lives.  I appreciate Tsou's efforts to humanize everyone, even I-Ann's scummy boss A-Ming (Teng-Hung Hsia), who is shown to have his own complicated family life.  The overall tenor of the film is heartwarming, humane, and optimistic, even though everyone is still hustling and struggling in the end.

"Left-Handed Girl" is the first feature where Shih-Ching Tsou has a sole directing credit, and it comes two decades after "Take Out," her first feature that she co-directed with Sean Baker.  From what I've read about the film's history, "Left-Handed Girl" faced an uphill battle at just about every stage of its creation, and the fact that it got made at all is a minor miracle.  Even if the movie is imperfect and too much at times, I'm happy to report that it was well worth the trouble.   

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The Worst 2025 Movies I Bothered to Watch

It's April Fools Day, and if I'm going to do a "worst of" list, it's going to be today.  First, I should include the caveat that I'm not a professional critic and not obligated to watch the real bottom-of-the-barrel dreck that I do my best to avoid.  At the same time, I'm not going to go for the obvious choices, like Disney's live-action "Snow White" and Amazon's "War of the Worlds," because you already know that they're terrible.  Instead, I'm going to focus on more low-profile examples of very bad movies you may stumble across by accident.  Here we go.  

Havoc - This made the list because somebody might see that there's a new Gareth Edwards film starring Tom Hardy, and think that they're in for a movie like Edwards' "The Raid" films.  Unfortunately, the long-delayed "Havoc," shot all the way back in 2021, is not anything close.  It's a chaotic, barely coherent mobster movie with a couple of decent action scenes, but utterly hopeless plotting.  How were the performances?  I couldn't tell.

Opus - Ayo Edibiri had a tough 2025.  While "After the Hunt" and "Ella McKay" may have disappointed, "Opus" was clearly the worst thing she appeared in last year.  Written and directed by a first time filmmaker, this wacky cult film starts off well enough with John Malkovitch as the charismatic leader/pop star, but quickly falls apart as the plot turns into a series of absurd trials and sketches.  Was it supposed to be funny?  I wasn't laughing. 

Love Hurts - It ticks me off that we have two recent Academy Award winners, Ke Huy Quan and Ariana DeBose, and the best project they can get to star as the leads in is this very substandard action-comedy.  I don't want to pile on too much because it's clear that there was some effort put into the action and fight scenes.  However, it doesn't cohere at all, and I'm worried that Quan's not going to get more chances as a leading man.  

Wolf Man - I wonder if the whole elevated horror trend has gone too far.  Why does the new version have to be about generational trauma?  Just because the new "Invisible Man" was about gaslighting, do all the monster movies have to be social commentary now?  Is the werewolf as a metaphor for primal rage just not enough anymore?  Anyway, it was rough seeing Christopher Abbott and Julia Garner floundering through this mess.  

Mission: Impossible - The Final Reckoning - There are some defenders out there who point out that the two big action sequences in "Final Reckoning" are very impressive and thrilling to watch.  However, the rest of the movie is still bad, especially a first hour that is composed entirely of montages, flashbacks and way too much exposition.  I like having Rolf Saxon back, it's just not worth the aggravation to get to the few scenes that work.

Playdate - I really shouldn't have watched this.  I don't like Kevin James movies in general, but I thought it was worth giving Alan Ritchson a shot.  Boy do I regret it.  Ritchson is playing the kind of aggro numbskull whose tough-love parenting tactics should have instantly attracted the ire of every Karen in earshot, and the whole movie makes a joke out of fatherhood in a way that's very unpleasant.  Even "The Family Plan 2" managed better.  

Oh. What. Fun. - I don't know what Michael Showalter and this overqualified cast were thinking with this premise.  A mom's response to being accidentally left behind on a holiday outing is to shame her family on national television?  If it were a darker, more astringent kind of comedy it might have worked, but instead this rarely strays far from the tone of your typical holiday streaming movie.  At least Joan Chen is still getting work.

The Old Guard 2 - Finally, the most disappointing sequel of the year was "The Old Guard 2," which managed to recruit Uma Thurman as a new baddie, but jettisoned everything we liked about the first film.  The lore makes no sense, the plot ties itself in knots, and to make matters worse, the ending just sets up a third film and calls it a day.  I don't think we're getting that third film, by the way.  

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My Top 25 of the Last 25: Endings

A good ending feels like a rarity these days, especially when we're talking about long-form media. As the franchises and revivals have become a fixture of modern movies and television, it feels like definitive endings are anathema.  However, there have still been some pretty good ones in the new millennium, and some are the reason that these titles are still remembered to this day.  

As with the other Top 25 Lists, this list has 25 entries, but only the top ten get write-ups.  Entries are unranked.  I regret to inform you that I was not a viewer of "The Shield," "Succession," or "Six Feet Under."  I'll try and keep the spoilers to a minimum, but you guys know what kind of list this is!

The Good Place - Chidi's quote about picturing a wave has quietly become the most enduring contribution of "The Good Place" to popular culture.  I find that fitting, because over the years the show became a sort of a stealth way for Mike Schur to talk about philosophical concepts related to morality.  It's only here, at the very end, that we really take on the concept of death, in a show where most of the characters are dead from the outset.

The Sopranos - Do you remember when the Clintons parodied this for Hilary's presidential campaign?  You wouldn't think just cutting to black during an uneasy moment would cause such a ruckus, but "The Sopranos" ambiguous finale definitely helped it to keep the show relevant for years after it went off the air.  David Chase is plagued with questions about it to this day.  My take is that whatever you think happened to Tony, he's a doomed man.

The Colbert Report - The ascension of the fictional Stephen Colbert to the pop culture pantheon was cool.  The celebrity sing-along with a crowd of notables including George Lucas and Henry Kissinger was fun.  However, my favorite part of the finale is the very end, where Stephen Colbert throws to Jon Stewart over at the "Daily Show" like the whole series had just been one long segment of the program where "The Colbert Report" originated.  

The Leftovers - There was never going to be a definite answer as to why the disappearances happened, but one is suggested if that's what you need from the show.  What's more important is that we get some emotional resolution for two of the main characters, when Kevin and Nora meet again after a long separation.  It's such a gentle, peaceful goodbye that ends the series on a hopeful and optimistic note, if not an entirely happy one.

The Return of the King - I had many complaints about this one the first time I saw it, but over the years, after too many multi-part franchise finales, I've grown much more fond of it.  Sure, the big battles and lengthy farewells are indulgent, but they're in service of truly epic storytelling.  I even wish that Peter Jackson had included the material that he shot for the coda sequence, that would have revealed the fates of some of the other characters.  

Mr Robot - The final twist of the very twisty "Mr. Robot" is one that I figured out well in advance, but I still enjoyed it immensely for how it unfolded.  For a show that depended so much on what was going on inside its protagonist's head, it was fitting that the finale mostly played out there, putting some of Elliott's lingering demons to rest.  And having the (almost) final title card drop being set to the Styx song (you know which one) was the icing on the cake.  

The Americans - The most terrible part of being foreign spies living fake lives turns out to be doing the job too well.  Getting away with it has a cost too terrible for Philip and Elizabeth to anticipate, as their mission reaches its inevitable conclusion and they have to say their goodbyes.  The confrontation scene with Stan finally happens as well, and it lived up to all the anticipation.  However, it's the confrontation that doesn't happen that will haunt me.

  

Avengers: Endgame - Clearly this was never meant to be a finale for the entire Marvel Cinematic Universe, but it was a good enough endpoint that plenty of viewers decided it was the right place to disembark.  The MCU actually has several good endings, notably the "Loki" finale.  However, "Endgame" was the first really meaningful one after over twenty films that killed major characters and even let one retire!  It's too bad it's not going to stick.  

Parks and Rec - There are happy endings, and there are happy endings so thorough at wrapping things up for each and every regular in the show, that you can't think about it without smiling.  Okay, so I wanted a little more for April and Andy, but Leslie and Ben?  Ron Swanson?  Garry?  Their endings are perfect.  For extra feels, the extended version also adds more material for minor characters like Bobby Newport and Shauna Mawae-Tweep.

The Wire - The fifth season of "The Wire" couldn't live up to the previous ones, but I still found plenty to like as the series wound down.  The finale doesn't have anything big and climactic, but simply checking in with so many of the characters in the series, from all walks of life, in an epic last montage, was enough to take my breath away.  Special love to Bubbles, whose story ends on a hopeful note.  

The Daily Show with Jon Stewart

Twin Peaks

Gravity Falls

Avatar the Last Airbender

The Tonight Show With Conan O'Brien

No Time To Die

Toy Story 3

Breaking Bad

Mad Men

Andor

Picard

Angel

Fleabag

Review with Forrest MacNeil

Futurama (multiple)

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My Favorite Richard Linklater Film

I admit that I haven't been giving Richard Linklater his due, and I've taken him for granted.  Last year he made two excellent comedies that were wholly unlike each other, and I realized that he was well overdue for one of these posts.  One of my longstanding issues with Linklater's work is that he's best known for a couple of lovingly nostalgic films about his school days, but his experiences in high school and college in no way resemble my own, so I always found it difficult to relate.  However, there was one of his early films that did feel very much like my college experience.

"Slacker" is an experimental film that consists of a series of barely connected vignettes with a sprawling cast of various people in Austin, Texas, inhabiting a neighborhood on the edge of the UT campus.  They are of all backgrounds, colors, and creeds, and include a few familiar faces if you're from the area, but can generally be described as oddballs.  I love how scroungy and youthful this movie feels, with the POV jumping from fascinating character to fascinating character in a variety of environments.  Linklater himself starts off the chain of vignettes, an anonymous guy in a T-shirt telling his troubles to a taxi driver.  Each new scene feels like a chance encounter that you absolutely might have, just walking through an eclectic college town, trying to mind your own business.

In the commentary track Linklater recorded for the movie, he claims that "Slacker" was made so he could play with structure, so the content was often a secondary concern.  He relied on his cast and collaborators to fill in the individual stories, incorporating anecdotes from people's pasts, half-remembered third-hand gossip, conspiracy theories, and a few subtle references to classical literature and cinema.  There wasn't a traditional script, and much of the dialogue was improvised.  The subject matter veers from alien abductions to world politics to love lives to dietary concerns to Uncle Fester from "The Addams Family."  It doesn't make sense on paper, but the in media res vignettes, with no beginnings or endings, do form a coherent narrative in the mind of the viewer, because this is the way that we actually experience life.  

Linklater describes the film as taking place on the margins, a place for self-discovery, for discourse, and for expression.  The characters are fictional, though some are based on real people, and everyone we see is an actor.  Many were specifically recruited because they fit the profile of "slacker" - the misfit nonconformist who doesn't easily slot into regular society, but still has plenty of opinions to share.  Linklater never meant for the term to have the negative connotations it would pick up later.  The characters do not have names, and are credited by memorable descriptors like "Been on the moon since the '50s," "Sidewalk psychic," and famously "Pap smear pusher."  While the specifics may have been negotiable, the vibe was always very deliberate.

"Slacker" is probably best remembered for kicking off the '90s indie wave, specifically a generation of filmmakers who self-financed their first features and embraced DIY methods and aesthetics.  It was made with a $20 thousand budget and shot with no permits, and certainly looks like it.  However, "Slacker" got the attention of key critics, was embraced by younger audiences as a cult film, and made enough money to inspire other Gen X filmmakers to try and replicate its success.  

As for Richard Linklater, he's well known for never giving up his particular, collaborative, rule-breaking approach to filmmaking.  I strongly considered writing this entry about one of his decades-spanning projects like the "Before" trilogy and "Boyhood," or maybe one of his animated films like "Waking Life" and "Through a Scanner Darkly."    Or I could have gotten meta and talked about Linklater making a film about one of his filmmaking heroes, Jean-Luc Godard, inventing the improvisational style of filmmaking that Linklater put to use in "Slacker" and many of his other films.        

However, in the end I'm writing about "Slacker" because I genuinely like the film and I get the film in a way that I don't quite get most of his others.  I guess I just relate more to these characters and their experiences, which is to say that I guess I'm a slacker too.  

What I've Seen - Richard Linklater

Slacker (1990)

Dazed and Confused (1993)

Before Sunrise (1995)

Waking Life (2001)

School of Rock (2003)

Before Sunset (2004)

A Scanner Darkly (2006)

Bernie (2011)

Before Midnight (2013)

Boyhood (2014)

Everybody Wants Some!! (2016)

Last Flag Flying (2017)

Where'd You Go, Bernadette (2019)

Apollo 10½: A Space Age Childhood (2022)

Hit Man (2023)

Blue Moon (2025)

Nouvelle Vague (2025)

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