Durante una ola de calor de 3 días justo antes del 4 de julio, una estrella de acción con amnesia se encuentra con una estrella porno que está desarrollando su propio reality show y un polic... Leer todoDurante una ola de calor de 3 días justo antes del 4 de julio, una estrella de acción con amnesia se encuentra con una estrella porno que está desarrollando su propio reality show y un policía que tiene la clave de una gran conspiración.Durante una ola de calor de 3 días justo antes del 4 de julio, una estrella de acción con amnesia se encuentra con una estrella porno que está desarrollando su propio reality show y un policía que tiene la clave de una gran conspiración.
- Premios
- 1 premio y 3 nominaciones en total
- UPU 4 Officer 3
- (as Chris Ciulla)
Argumento
¿Sabías que...?
- CuriosidadesRichard Kelly consciously sought out actors that he felt had been pigeonholed and wanted to showcase their "undiscovered talents."
- PifiasWhen the home video at the start of the film catches a glimpse of the initial bomb blast, we see the flash and hear the boom at the same instant. Anything close enough to a nuclear blast to hear the boom at the same instant as seeing the flash would be instantly disintegrated.
- Citas
Krysta Now: Scientists are saying the future is going to be far more futuristic than they originally predicted.
- Créditos adicionalesAfter the credits, a logo appears of a thumbprint over an American flag with the words: "DON'T TOUCH ME"
- Versiones alternativasOriginally running for 160 minutes, Southland Tales premiered at the Cannes Film Festival in 2006 to a disastrous reception. Because of this, it was re-edited and shortened in length as part of the distribution deal. Since the shortened version was shown theatrically and released on DVD, the Cannes cut has been shown on Cable TV and DVD releases in Europe. Some of the changes between the theatrical cut and the Cannes cut are as follows:
- Opens the same as theatrical cut, with home video in Abilene, except with music ('Water Pistol' by Moby) and runs longer. Video is also shown in its original aspect ratio, instead of cropped for 2.35:1.
- Doomsday Scenario Interface is not present in the original cut, it was added to provide background information present in the graphic novels. Instead we have narration from Pilot Abilene explaining the present situation and Treer Corporation.
- The meeting between the Baron and Hideo Takehashi takes place much earlier in the film, Pilot explains the Baron dislikes Takehashi.
- The character of General Teena MacArthur is more fleshed out in original cut, she mainly communicates with General Simon Theory and the Baron.
- Many scenes with dialog between main characters have been extended i.e. scenes with Boxer & Roland, Krysta & Cyndi, Boxer & Starla, Cyndi & Vaughn Smallhouse etc.
- Pilot explains that Bart Bookman is an 'angry man' with a willingness to die.
- Some events that take place are better explained in original cut e.g. Boxer ringing Fortunio before meeting him, Serpentine explaining her actions at the end.
- Features additional effects of the blimp not in theatrical version.
- Features music by Moby not present in theatrical version i.e. 'Ceanograph' is heard in scene giving information on the rift, 'Hotel Intro' is heard as characters visit different sections on the blimp.
- Banda sonoraIf I Could Be With You (One Hour Tonight)
Written by Henry Creamer and James P. Johnson (as Jimmy Johnson)
Performed by Louis Armstrong
Courtesy of Columbia Records
By Arrangement with Sony BMG Music Entertainment
The primary thing that keeps the film from succeeding as a whole is its constant shifts in tone. While the filmmakers might argue that they are aping/satirizing the way we get information through the media, it makes for a rotten experience at the cinema. Some scenes are sketch comedy, some are ponderous (in a good sense), there is a bit of action and bit of fun with setting of the film. Without a truly riveting lead character or other weighted focus point it falls apart -- really by the conclusion of the film it's just white noise.
The casting is meant to be part of the media critique, but it's works against the film to keep thinking, 'hey -- that's the guy from Revenge of the Nerds and Moonlighting again', and keeps you distracted from the plot and characters' relationship to the plot. When thinking of this aspect of the film AFTER viewing it's a straightforward idea -- hey the filmmakers are saying that the government is using entertainment to keep us from following the real news, man! But during the actual experience of watching the film, the casting starts one thinking of Mars Attacks or dare I say it, Cannonball Run......
The lighting was very flat, which I assume again is part of the 'fast food media' critique - but ugly is still ugly. Especially considering Donnie Darko I was expecting something worth looking at visually. There are some big IDEAS presented visually, but they are not visually interesting in a formal sense. There has to be SOMETHING for the audience to hang its hat on beyond an idea. Cinema is a sensate experience, not merely an intellectual one.
I look forward to reading about this someday in Scott Tobias's "My Year Of Flops - Redux" on the Onion AV Club....
- pasfroid
- 17 nov 2007
- Enlace permanente
Selecciones populares
Detalles
- Fecha de lanzamiento
- Países de origen
- Sitios oficiales
- Idioma
- Títulos en diferentes países
- Ma Cô
- Localizaciones del rodaje
- Empresas productoras
- Ver más compañías en los créditos en IMDbPro
Taquilla
- Presupuesto
- 17.000.000 US$ (estimación)
- Recaudación en Estados Unidos y Canadá
- 275.380 US$
- Fin de semana de estreno en EE. UU. y Canadá
- 117.000 US$
- 18 nov 2007
- Recaudación en todo el mundo
- 374.755 US$
- Duración2 horas 25 minutos
- Color
- Mezcla de sonido
- Relación de aspecto
- 2.35 : 1