Product Details

• Amazon Sales Rank: #12176 in DVD
• Released on: 1998-02-04
• Rating: R (Restricted)
• Aspect ratio: 1.85:1
• Formats: Closed-captioned, Color, DVD, Letterboxed, Widescreen, NTSC
• Original language: English, French
• Subtitled in: Spanish
• Number of discs: 1
• Running time: 135 minutes

Amazon.com
Billy Bob Thornton wrote, directed, and starred in this mesmerizing drama with haunting overtones of To Kill a Mockingbird. Thornton plays a mentally retarded man who has spent 20 years in a psychiatric hospital for killing his mother and her lover. Released into the community from which he came, he befriends and protects a lonely boy regularly harassed and abused by his mom's boyfriend (a terrific performance by Dwight Yoakam). The story is ultimately about sacrifice, but Thornton certainly doesn't get twinkly about it. Some of the best material concerns the hero's no-big-deal efforts to integrate into a "normal" life: working, eating fast food, earning admiration for his handyman skills, and attaining a semblance of community among other damaged souls. John Ritter has a great part as a gay shopkeeper who tries to assuage his own loneliness by spilling his guts out to Thornton's uncomprehending character. --Tom Keogh

Customer Reviews

living inside one's own heart
With the parodies and jokes surrounding the lead character of this film stating, "I like the way you talk," I was not expecting this film to be anything I'd be impressed with. Boy, was I wrong. This a fantastic film.

Billy Bob Thornton plays Karl Childers, a man about to be released from a mental hospital after staying there for 30 years. Karl killed his own mother and her lover when he was only about 12 years old and you wonder from the beginning of this film - why are they letting him out?

Some people call him slow, some people say he's retarded - but as each scene comes and goes, you realize that there is a lot more going on inside Karl's head than anyone else believes.

While autism is not mentioned by name in the film, it's obvious that this character was modeled after an autistic person. He does not maintain eye contact and rarely exhibits emotion or speaks.

He returns to his childhood hometown after being released from the hospital and puts his mechanical skills to good use as a small engine wiz at a local mechanic shop.

He befriends Frank (Lucas Black), a young boy who reminds Karl of the kind of life he could have had, if he had only had different parents. Frank's mother has a psycho for a boyfriend (masterfully played by Dwight Yoakum) who treats Frank and his mother like garbage and threatens to kill them if the relationship ever ends.

Small town folks have big hearts, but sometimes small minds. Frank's mother (Natalie Camerday) has a best friend who is gay (well acted by John Ritter) and he must hide his relationships from the townsfolk. Her friend Vaughn wants to go to a a bigger city with wider acceptance of his lifestyle, but he continues to stay to act as a guardian angel for his friend and her son.

As Karl meets and interacts with the new friends (and enemies) he meets, he reveals some of his darker secrets with his friend, Frank. While he shows almost no emotion, Karl's story evokes tears from all but the most stony-hearted viewer. He not only feels great pain of what he has experienced and what he has done, he feels great empathy for Frank and his mother and holds their friendship dear to his heart.

There is violence in the film, but the most violent of scenes is just audible - nothing is seen, just heard. This film is too intense for young viewers, but teenagers should have no problem with it.

This film really makes you think - about what goes on in the minds of those who are mentally different in any way - and how all emotions are universal.

A Cut Above the Rest
We know well the visage of the desolate, decadent, sometimes lascivious Southern landscape from the works of William Faulkner and others. Not unlike Faulkner, Billy Bob Thornton's Sling Blade guides us guiltily toward the region's historical and modern undercurrents of social prejudices, ignored dysfunction, sought acceptance, and resulting violence. The film addresses a universal human condition, however, and not the region.

The title of the film looms over the audience as Thornton urges fondness while successfully negotiating the fine line between our fear of, and affection for Karl Childers (Thornton), a recently released mental patient committed as a child for violently murdering his mother and her boyfriend. Sling Blade is a study in tension with thick suspense built through superior character development resulting in conflicts that escalate into deliberate, almost real-time rhythms.

The story is one of need and moreover of acceptance, as the collection of limping characters, directly or not, seek it, and to some degree, with the help of Karl, attain it. The boy, Frank (Lucas Black), seeks the love of a father figure after the suicide of his own. Linda, the mother (Natalie Canderday), requires the general acceptance of her perceived role as a Southern woman, and subsequently the acceptance from a mate, which is evident in her destructive dependence upon her demonic, red-neck boyfriend, Doyle (Dwight Yoakam). Her own deep need renders her perhaps overly accepting of others, including Karl, whom most mothers wouldn't let within ten feet of there sons. Vaughn (John Ritter), like the others, seeks love, and on an outward scale, struggles with his half-open homosexuality in the small Southern town. Doyle, not unlike Linda, wants acceptance of his perceived role as a family head and wants to be loved as well, but lacks even the basic tools to a gain it. And finally Karl, the most dynamic character in the film, seeks acceptance only from himself as he works to garner love and to construct some semblance of a life within the limited bounds of his mental capacity, his stunted development, and his own set of morals.

While the climax of the film is somewhat telegraphed, it is more inevitable than predictable, and the audience is left alone with the wonderment and self-examination over the questionable choice of a sympathetic character. From Sling Blade we leave with the unsolicited lesson that tenderness and brutality sometimes share the same origin.

Redneck auteur extraordinaire!
A little-known fact: Billy Bob Thornton--star, director and writer of this amazing film--is the greatest southern voice since William Faulkner. This film is essential southern gothic retooled for the New South of mini-malls and subdivisions. The old demons still lurk, most graphically through Doyle (played remarkably by Dwight Yoakam). Watch for a cameo appearance from indie/y'allternative musician Vic Chesnutt! Besides being an incredibly important film about the South, it's emotional rollercoaster ride: from Carl (Thornton) and his shocking past, to the awkwardness of his first days away from institutionalization, to the amazing paternal relationship he forges with a neglected boy--the one person who will accept him unconditionally. Heart-wrenching, dark and beautiful.