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Jay and Silent Bob Reboot (2019)

Jay and Silent Bob Reboot is strictly made for writer/director Kevin Smith’s fanbase, so does trying to play outside this cultivated audience even matter? Honestly, there’s no way this is going to be anyone’s first Smith movie, so it’s already running on an assumed sense of familiarity with the characters and stories of old, which is often a perquisite to enjoying many of the jokes (more on this later). It’s been 25 years since Clerks originally debuted and showcased Smith’s ribald and shrewd sense of dialogue-driven, pop-culture-drenched humor. He’s created his own little sphere with a fervent fanbase, so does he need to strive for a larger audience with any forthcoming movies or does he simply exclusively serve the existing crowd?

Jay (Jason Mewes) and his hetero life-mate Silent Bob (Smith) are out for vengeance once again. Hollywood is rebooting the old Bluntman and Chronic superhero movie from 2001, this time in a dark and edgy direction, and since Jay and Silent Bob are the inspirations for those characters, even their likenesses and names now belong to the studio. The stoner duo, older and not so much wiser, chart a cross-country trip to California to attend ChronicCon and thwart the filming of the new movie, directed by none other than Kevin Smith (himself). Along the way, Jay and Bob discover that Jay’s old flame, Justice (Shannon Elizabeth), had a daughter, Millennium “Milly” Falcon (Harley Quinn Smith) and Jay is the father. Milly forces Jay and Bob to escort her and her group of friends to ChronicCon and Jay struggles with holding back his real connection to her.

One of my major complaints with 2016’s Yoga Hosers (still the worst film of his career) was that it felt like it was made for his daughter, her friends, and there was no point of access for anyone else. It felt like a higher-budget home movie that just happened to get a theatrical release. Jay and Silent Bob Reboot feels somewhat similar, reaching back to the 2001 comedy that itself was reaching back on a half-decade of inter-connected Smithian characters. There is a certain degree of frantic self-cannibalism here but if the fans are happy then does Smith need to branch out? This is a question that every fan will have to answer personally. At this point, do they want new stories in the same style of the old or do they just want new moments with the aging characters of old to provide an ever-extending coda to their fictional lives?

I certainly enjoyed myself but I could not escape the fact at how eager and stale much of the comedy felt. Smith has never been one to hinge on set pieces and more on character interactions, usually profane conversations with the occasional slapstick element. This is one reason why the original Jay and Silent Bob Strikes Back suffers in comparison to his more character-driven comedies. Alas, the intended comedy set pieces in Reboot come across very flat. A lustful fantasy sequence never seems to take off into outrageousness. A drug trip sequence begins in a promising and specific angle and then stalls. The final act has a surprise villain that comes from nowhere, feels incredibly dated, and delivers few jokes beyond a badly over-the-top accent and its sheer bizarre randomness. There’s a scene where the characters stumble across a KKK rally. The escape is too juvenile and arbitrary. A courtroom scene has promise when Justin Long appears as a litigation attorney for both sides but the joke doesn’t go further, capping out merely at the revelation of the idea. This is indicative of much of Reboot where the jokes appear but are routinely easy to digest and surface-level, seldom deepening or expanding. There’s a character played by Fred Armison who makes a second appearance, leading you to believe he will become a running gag that will get even more desperate and unhinged with each new appearance as he seeks vengeance. He’s never seen again after that second time. There are other moments that feel like setups for larger comedic payoffs but they never arrive. The actual clip of the Bluntman and Chronic film, modeled after Zack Snyder’s Batman v. Superman, is almost absent any jokes or satire. There are fourth-wall breaks that are too obvious to be funny as they rest on recognition alone. There’s a running joke where Silent Bob furiously taps away at a smart phone to then turn around and showcase a single emoji. It’s cute the first time, but then this happens like six more times. Strangely it feels like Smith’s sense of humor has been turned off for painfully long durations on this trip down memory lane. The structure is so heavily reminiscent of Jay and Silent Bob Strike Back that there are moments that repeat step-for-step joke patterns but without new context, meaning the joke is practically the repetition itself.

The problem with comedy is that familiarity can breed boredom, and during the funny stretches, I found myself growing restless with Reboot as we transitioned from stop to stop among the familiar faces. I enjoyed seeing the different characters again but many of them had no reason to be involved except in a general “we’re bringing the band back together” camaraderie. It’s nice to see Jason Lee again but if he doesn’t have any strong jokes, why use him in this way? Let me dig further with Lee to illustrate the problem at heart with Reboot. Jay and Silent Bob visit Brodie (Lee) at his comic book shop, which happens to be at the mall now. He complains that nobody comes to the mall any longer and he has to worry about the “mallrats,” and then he clarifies, he’s talking about actual rodents invading the space, and he throws a shoe off screen. I challenge anyone to find that joke amusing beyond a so-bad-it’s-fun dad joke reclamation. I kept waiting for Smith to rip open some satirical jabs on pop culture since 2006’s Clerks II. In the ensuing years, Star Wars and Marvel have taken over and geek culture and comic books rule the roost. Surely a man who made his name on these topics would have something to say about this moment of over saturation, let alone Hollywood’s narrow insistence on cash-grab remakes. I kept waiting for the Smith of old to have some biting remarks or trenchant commentary. Milly’s diverse group of friends (including a Muslim woman named “Jihad”) is referred to like it’s a satirical swipe at reboots, but there isn’t a joke there unless the joke is, “Ha ha, everyone has to be woke these days,” which is clunky and doesn’t feel like Smith’s point of view. There are several moments where I felt like the humor was trying too hard or not hard enough. As a result, I chuckled with a sense of familiarity but the new material failed to gain much traction.

I do want to single out one new addition that I found to be hysterical, and that is Chris Hemsworth as a hologram version of himself at a convention. The Thor actor has opened up an exciting career path in comedy as highlighted by 2017’s Ragnarok, but just watching his natural self-effacing charm as he riffs about the dos and don’ts of acceptable behavior with his hologram is yet another reminder that this man is so skilled at hitting all the jokes given to him.

Where the movie succeeds best is as an unexpected and heartfelt father/daughter vehicle, with Jay getting a long-delayed chance to mature. It’s weird to say that a movie with Jay and Silent Bob in starring roles would succeed on its dramatic elements, but that’s because it feels like this is the territory that Smith genuinely has the most interest in exploring. The concept of Jay circling fatherhood and its responsibilities is a momentous turn for a character that has previously been regarded as a cartoon. His growing relationship with Milly is the source of the movie’s best scenes and the two actors have an enjoyable and combative chemistry, surely aided by the fact that Mewes has known Harley Quinn Smith her entire existence. This change agent leads to some unexpected bursts of paternal guidance from Jay, which presents an amusing contrast. There’s a clever through line of the difference between a reboot and a remake, and Smith takes this concept and brilliantly repackages it into a poignant metaphor about parenthood in a concluding monologue. Smith’s position as a father has softened him up a bit but it’s also informed his worldview and he’s become very unabashedly sentimental, and when he puts in the right amount of attention, it works. There’s an end credit clip with the late Stan Lee where Smith is playing a potential Reboot scene with Stan the Man, and it’s so sweet to watch the genuine affection both men have for one another. I’m raising the entire grade for this movie simply for a wonderful extended return of Ben Affleck’s Holden McNeil character, the creator of Bluntman and Chronic. We get a new ending for 1997’s Chasing Amy that touches upon all the major characters and allows them to be wise and compassionate. It’s a well-written epilogue that allows the characters to open up on weightier topics beyond the standard “dick and fart” jokes that are expected from a Smith comedy vehicle. It’s during this sequence where the movie is allowed to settle and say something, and it hits big time.

The highly verbose filmmaker has been a favorite of mine since I discovered a VHS copy of Clerks in the late 90s. I will always have a special place reserved for the man and see any of his movies, even if I’m discovering that maybe some of the appeal is starting to fade. I don’t know if we’re ever going to get a Kevin Smith movie that is intended for wide appeal again. Up next is Clerks 3, which the released plot synopsis reveals is essentially the characters of Clerks making Clerks in the convenience store, which just sounds overpoweringly meta-textual. He’s working within the confines of a narrow band and he seems content with that reality. I had the great fortune to attend the traveling road show for this film and saw Smith and Mewes in person where they introduced Reboot and answered several questions afterwards. Even though it was after midnight (on a school night!) I was happy I stayed because it was easy to once again get caught up in just how effortlessly Smith can be as a storyteller, as he spins his engaging personal yarns that you don’t want to end. As a storyteller, I’ll always be front and center for this gregarious and generous man. As a filmmaker, I’ll always be thankful for his impact he had on my fledgling ideas of indie cinema and comedy, even if that means an inevitable parting of ways as he charts a well-trod familiar path. Jay and Silent Bob Reboot is made strictly for the fans, and if you count yourself among that throng, you’ll likely find enough to justify a viewing, though it may also be one of diminished returns.

Nate’s Grade: C+

American Reunion (2012)

What loser doesn’t attend their 13th high school reunion? Who even organizes such an untimely event? The generally unnecessary American Reunion is being dished out to the public for a number of reasons. The studio would like to revive their once lucrative sex-comedy-meets-baked-goods franchise, and most of these actors could desperately use the work. Remember when the likes of Chris Klein, Mena Suvari, and Tara Reid were above-the-title names? What I recall, now that the gang is together again, is that I found most of these characters to be dullards. They’re in their 30s, have careers and families, and stupidly comfortable lives, yet they’re up to the same old hijinks, which just seem a bit more desperate and embarrassing this time around. Seann William Scott, the franchise’s true wild card, is still amusing as ever, but I couldn’t swallow the forced nostalgia for characters that are unappealing. Jason Biggs and Alyson Hannigan still make a nice pair, but rehashing the old gang mitigates their screen time. Comedy-wise, the movie has a few memorable gross-out moments but nothing really hilarious. I laughed from time to time but mostly I was bored, and Klein, especially in his new post-Street Fighter ironic version of himself, is rarely boring. It’s a pleasant enough experience and I suppose fans of the original films will get a kick out of seeing who ended up where and, in particular, what he hell happened to Reid’s leathery face. Otherwise, American Reunion is a gathering that nobody called for and fails to justify all the effort. Then again, my favorite of the American Pie films is the second one, so take my words with caution.

Nate’s Grade: C

Jay and Silent Bob Strike Back (2001)

Kevin Smith returns back to his comedy roots. No more movies with a message (Chasing Amy and Dogma) it’s back to good ole’ snowballing and stink palming. His latest, Jay and Silent Bob Strike Back, is like a giant thank-you card to all his fans that have made the man who he is today. It ties up the entire View Askew universe so Kevin can drift off into uncharted ventures of film making and not have to keep referencing the same damn characters. Plus there’s plenty of good-natured vulgarity to go around.

The plot of Jay and Silent Bob is nothing too heavy but seems to keep the film on a continuous pace, unlike the sometimes stagnant feel Mallrats had (what, they’re in one location for 90 minutes). It seems that after getting a restraining order at the Quick Stop on them, Jay and Silent Bob learn that Miramax is making a movie from a comic book that is in fact based off of them. Learned of the riches they could make they seek out the comic’s author Holden McNeil (Ben Affleck’s first appearance in the film) and demand a piece of the pie. Holden tells them that he long ago sold his right to his partner Banky Edwards (Jason Lee, in his second appearance in the film) and that there’s nothing they can do to stop the film. Jay suddenly gets the idea that if they stop the movie from ever getting made then they don’t have to worry. So off go our stoner duo on a mission to sabotage and satirize Hollywood.

Along the way are a hitch-hiker (George Carlin) advising the best way to get a ride is to go down in your morals, a confused nun (Carrie Fisher), the cast of Scooby Doo offering a ride (which will be 100x funnier than the feature film coming out this summer), a beautiful band of international diamond thieves (Eliza Dusku, Ali Larter, Jennifer Swalbach-Smith, Shannon Elizabeth), a rescued chimpanzee, a dogged Wildlife agent (Will Ferrell), and a full barrage of hilarity once Hollywood is finally hit.

The best barbs are laid out by Ben Affleck and Matt Damon bickering about the other’s film choices on the set of Good Will Hunting 2: Hunting Season. This moment is truly inspired and full of great humor from Gus van Sant too busy counting his money to yell action to Damon turning into a vigilante hero. I almost fell on the floor laughing during this sequence.

When Jay and Silent Bob hit Hollywood is when the comedy starts hitting its stride as this Jersey Greek chorus interacts with the Hollywood life and encounters many a celebrity. The jokes are usually right on target except for Chris Rock’s performance of a racism obsessed film director. Rock’s portrayal becomes grating to the moviegoer far before it’s over, though he does get a few choice lines.

Smith as a director has finally elevated his visual art into something that can sustain itself instead of his earlier just-hold-the-camera-and-shoot movies. There are pans, zooms, quick cuts, cranes, action sequences, and even CGI. Smith is evolving as an artist but still staying his “dick and fart joke” self, and Jay and Silent Bob Strike Back is evidence. And that’s fine by me.

Nate’s Grade: B

American Pie 2 (2001)

First and foremost I disliked the first American Pie movie. It just rang very transparent for me and I didn’t laugh once – a capitol crime with a comedy in my book. So I wasn’t exactly looking forward to another addition with the American Pie family, but ventured out with friends and found myself enjoying this second helping of raunch. And this time I genuinely laughed at several points and found it overall less insipid.

To American Pie 2‘s benefit all the characters have been introduced prior and are familiar to the audience, therefore no time is wasted on pointless set-up. The movie jumps right out to the familiar faces and decides to further the AP2 universe. Jim (Jason Biggs) and friends are returning back home after their first year of college. Jim has not had a sexual experience since his prom night with Michelle the band geek (Alyson Hannigan) and he is completely in doubt of his abilities in the bedroom. Complicating matters is the news that the Czech student of his fantasies Nadia (Shannon Elizabeth) is on her way back and is eagerly anticipating another tryst with Jim. Kevin (Thomas Ian Nicholas) is still hung up on his ex Vicky (Tara Reid) and worrying that his friends will grow apart and college will change everything. Oz (Chris Klein) seems to be doing fine with his monogamous relationship to Heather (Mena Suvari), despite the taunting of Stifler (Sean William Scott) that he needs to spread out. Finally Finch (Eddie Kaye Thomas) is still chasing after the only woman that ever caught his heart, Stifler’s mom.

After the boys return back to their roots the police bust a party at Stifler’s pad, and they are without a place to party for the summer. Kevin brings to their attention the idea of renting a cabin on the beach for the summer. The place serves as a spot for the boys to enjoy their sunshine-y days away from school and stay together as friends, as well as attempt to get an abundance of tail. Hi-jinks ensue.

AP2 almost seems to follow the formula of the first one to the letter. The opening scene has Jim’s dad (the always hilarious Eugene Levy) walking in on an embarrassing moment for Jim (you think he’d learn that doors have locks at this point). Jim encounters a horrific sexual accident that he must discuss with his father afterwards. Stifler gets a not-so-nice encounter with a bodily fluid in the beginning party. And it all ends with a big party to end all parties with everyone hooking up with a partner for some post-coital spooning. The script was written by the same writer of the first yet he seems to be playing connect the dots with his own formula.

What American Pie 2 does to separate itself as more enjoyable than the first is give the interesting characters the majority of the time and leave the least interesting sputtering for air. The interesting ones follow: Jim is a nice guy full of the same insecurities that plague a teenager and intimacy, and Biggs plays him as an everyman who somehow always seems to come into sadistic moments of embarrassment. With Jim’s wish to be more sexually adept he visits the infamous band camp and finds Michelle once again who agrees to coach him on techniques and pointers. Hanigan is given an incredible amount more of screen time and she’s glowing in every second of it.

Also the man-you-love-to-hate Stifler has a larger role leading his group of lakeside roommates into encounters with lesbians and other sexual calamities. Scott may be playing Stifler as a jerk but he’s entertaining and genuinely funny, and at one point you can’t help but root for the crass frat boy. Finch has learned that Stifler’s mom will be paying a visit to their cabin at the end of the summer and spends his time studying up on Tantra and Zen to fully explore his inner sexual prowess.

The entire cast from the first American Pie romp does return, though not everyone has equal time. Mena Suvari (still looking so young) leaves in the beginning of the film and then comes back at the very end. The insatiably annoying Reid (who has eyes that I can’t tell where her whites end and irises begin) thankfully is only in the film for two short scenes which leads me to question was she even necessary in the first place? Natasha Lyonne is only in scenes alongside Reid, so her stint in the sequel is equally as brief. Elizabeth’s role might be central to Jim’s quest for sexual fulfillment, but she only pops up in the last eight minutes of the film – and doesn’t show her breasts this time. Now that I think about it Klein and Nicholas really weren’t in the film too much either except for standing in the background while another character talked.

The soundtrack is a collection of every pop “punk” band that’s been playing on MTV since May of that year. It’s like the producers just watched the channel for a week and would point to the ones they wanted.

The film still is a mishmash of gross out sexual humor and sentimentality, but for some reason it’s a lot easier to swallow the second time around. For all its bodily fluids and crudeness, American Pie 2 has a stickily sweet secretly conservative old-fashioned heart. Though the makers would never tell you so. In a summer almost bankrupt on entertainment value I’ll leisurely take a slice of American Pie 2.

Nate’s Grade: B-

Scary Movie (2000)

If you can’t stomach crude humor perhaps Scary Movie is not the ideal picture for you. If you’re unsure of things like a geyser of semen that could rival any of the inclement weather in A Perfect Storm, some pubic bush-whacking, or the big screen’s first aural sex scene — then turn away now as fast as you can. But for those hungry for the gross-out laughs of There’s Something About Mary though, Scary Movie delivers in spades.

The story of Scary Movie revolves around a cross-section of the Scream trilogy and the J. Love Hewitt ‘Summer’ escapades. The plot is still kept together with ease but always gives sizable room and advantage for the film’s numerous parodies and slapstick. All of the typical high school clichés are present (naturally played by actors in their 20s and 30s). There’s the loudmouth jock who’s short where it counts (Lochlyn Monro), the busty and ditsy beauty queen (Shannon Elizabeth), the virginal Neve-like innocent (fresh-faced newcomer Anna Faris), as well as countless stoner buddies following the antics of Shorty (Marlon Wayans) among others. Together along with roaming newscaster Gale Hailstorm (SNL‘s Cheri Oteri) and “special” police officer Doofy everyone tries staying one step ahead of our black-hooded fiend’s list.

Scary Movie ruthlessly skewers not only the works of horror author Kevin Williamson but along the road are ‘American Pie’ like teen sex farces and just about anything else you can think of. The lampooning establishes parodies of The Matrix, The Sixth Sense, The Blair Witch Project with a hilarious close-up of Oteri, Amistad, the Budweiser “Wassup” commercials, and one movie I won’t even mention as to not give away one of the film’s best spoofs for a great ending. Scary Movie is a movie rich in laughter of all sorts as well as pure guaranteed shock value. The cast even parodies their own source actors perfectly with Shawn Wayans doing a perfect drooling of Matthew Liliard and officer Doofy as a perfect representation of David Arquette.

Director Keenen Ivory Wayans’ Scary Movie doesn’t just wrestle with bad taste; it gleefully rolls around in it. But that’s exactly how it leaves its audience – rolling with laughter. Scary Movie is easily the funniest movie of the year and will likely stay that way. It’s also the first movie in years that I have actually walked out of with my face aching from so much laughter. Scary Movie will be this year’s word-of-mouth sensational smash as it smashes taboos and taste full-ahead, trust me on this one.

Nate’s Grade: B+

American Pie (1999)

 

I may be a lone voice in a sea of opposition but I’ll say that I really didn’t laugh much at this latest teen sex romp. I wanted to laugh more than I did, oh I did, but it never really transpired. The movie throws together out of place gross-out gags and false sentimentality. The entire thing was predictable and for the most part stale. I may be over-analyzing a teen sex comedy, but that’s what I had to do with the time where I wasn’t laughing. The creators of this seem to imply that gals who don’t put out aren’t worthwhile or even cool. I could never feel for any of the characters or relate because they were all so shallow. There are some humorous scenes in this flick but they are few and far between. Many of the jokes just fall flat. Overall I could say I was greatly disappointed with American Pie and hope that the most innovative joke in the next teen sex comedy isn’t played to death in commercials and turned into a tagline. Are you listening Universal marketing team?

Nate’s Grade: C

 

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