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SLC Punk starts out entertainingly enough as a sarcastic snapshot of the punk-rock scene in Salt Lake City in 1985--complete with mohawks, moshing, and vague avowals of anarchy. But gradually, the wanderings of Stevo (Matthew Lillard from
Scream) and Heroin Bob (Michael Goorjian) turn into a multilayered exploration of character and culture shock. Though he spends his days drinking and mocking the values of his parents, Stevo turns just as critical an eye on his own rhetoric and lifestyle, and comes to find that aimless rebellion may be just as hollow as the mindless pursuit of money. No character has the right point of view; there are no easy solutions. Despite lacking anything in the way of a plot,
SLC Punk sustains its energy through wit, realism, propulsive editing, and excellent performances from Lillard, Goorjian, and the rest of the cast. It's emblematic of the movie's sophistication that Stevo's lawyer father (Christopher McDonald, who played Geena Davis's husband in
Thelma and Louise) is treated satirically without being dismissed; though baffled by his son's form of rebellion, he never loses hope that Stevo will go on to law school and continues to cajole Stevo and argue with him about how the world works. By its end, the constantly shifting perspective of
SLC Punk achieves a surprising emotional depth. It's also given a lot of energy by a well-chosen soundtrack of energetic but not overly familiar music of the time, including selections from Fear, the Dead Kennedys, the Stooges, and even Roxy Music.
--Bret Fetzer
A messy but engaging look at the punk scene in Salt Lake City during the Reagan years; that may sound a little specialized, but how many of us knew there ever was a punk scene-or even a single punk-in the home of the Mormons? The star is Matthew Lillard, who is fast outgrowing his "Scream" persona; here, the frustrated wrath of his teen-age character, Stevo, is finely offset by Lillard's gangling sweetness. The whole movie, indeed, is a wry look back at rebellion; how can you hope to change the world, the movie asks, when it's far too much trouble to change your hairstyle, let alone your girlfriend? Director James Merendino likes to play up his busy visual habits, as if to cover the slow patches in the plot, and he can't quite rid himself of a weakness for voice-over; yet his film grows unexpectedly touching, as Stevo's friendship with the clueless Bob (Michael Goorjian)-like the panicky era in which they have thrived-comes to a cold and tranquil end. -Anthony Lane
Copyright © 2006
The New Yorker