Clerks III

Recursiveness lives in New Jersey; who knew? Apparently Kevin Smith did. One must suppose that the approach we see here was the only way that another reasonable work could have been wrung from the fabric of this already twice-told story. Obviously, Smith drew inspiration not only from his previous Clerks works but also from his own real-life experience, i.e. his very own famous health scare. That and other complications of aging are the propellants for this (presumed) last round of antics of Dante and Randall, this time taking the convenience store pair on a journey that’s nearly identical to that of their creator, not just to the hospital but through the selfsame experience of creating an autobiographical theatrical work, set in the same place but hardly the same time. It’s an interesting concept, one that evokes both memories of the past and inevitable comparisons between the disparate times and realities. While the results are not quite to the same level of zaniness as before, there are moments of comedy that work here, along some surprisingly touching scenes as well (mostly towards the end, for what eventually become obvious reasons). Overall, this film is a solid piece of nostalgia, an intriguing statement about things learned along the way, and a fitting denouement for some of independent cinema’s most famous and iconic characters. For longtime fans, and maybe even a few neophytes who never even saw the first two flicks (or any of the other View Askew movies), I assure you that this work is worth a look.

Yoga Hosers

One of the most committed feature-length goofs you’ll ever encounter. Clearly, there was never any intent to make a serious film here, so the viewer has to match the spirit of the piece in order to get the most out of watching it. That calls for viewing this flick with a persistent smirk on your face and not much in the way of critical examination in your mind. For sure, the humor here runs the gamut from silly and clever to breathtakingly stupid, so you really can’t go in looking for greatness. And the missteps in the story, while gargantuan, are ultimately forgivable given the obvious lack of seriousness. (This movie would have played much better if it had been a simple ghost or monster story, or even just a straightforward slasher pic, but the actual backstory is just downright ridiculous and dumb—the sort of thing that happens when you’re overly dedicated to making movies while being totally baked.) All in all, though, if you play it loose and silly—as does everyone in the cast, including title protagonists Harley Quinn Smith and Lily-Rose Depp, who add beaucoup de cuteness to the mix—then you’ll find yourself having a lot of fun with this pic. That is, unless you’re Canadian, in which case you may be mortally offended by the film’s (mostly) gentle but relentless teasing. But the rest of us can just sit back and spend 90 or so minutes enjoying some entertaining if ultimately meaningless fun. And that’s aboot all there is to it.

Tusk

Strange bizarre and unexpected, as old Mr. Ripley used to say. Everything I ever heard about this movie--even from the creator himself via his podcast--was that this one is a piece of shit. Imagine, then, my surprise in finding that this flick actually isn’t all that bad. It is eccentric, to be sure, but there’s plenty of solid movie-making here; apparently, Kevin Smith was not so baked at this poing that he couldn’t direct a competent flick. (No guarantees for today.) The most intriguing aspect of this strange work is the competing oddball performances by Johnny Depp and Michael Parks. They provide many layers of interest in their contributions, even if Depp's Quebecois accent has a habit of showing up and hiding in equal measures. I wouldn’t go so far as to say this a good movie, but...awful? No, not really. Just really, really weird. Too weird for most, but I think it works for a niche audience. There’s even, dare I say it, some intriguing philosophical musing at work here, which might just make this story something to ponder even after its running time has been spent. I guess it goes to show, from the most unpromising ground, sometimes something unique and intriguing can grow.

Red State

So this is what Kevin Smith's now-perpetual cloud of weed smoke hath wrought--a genuinely good indie film, with surprising philosophical depth, storytelling skill, and an almost oddly sympathetic engagement with its central crazies. If this really is his penultimate film (preceding the forthcoming Hit Somebody!), one could argue Smith is going out with a bang--and maybe just when he's finally figured out this whole film-making thing.

Clerks II

It seemed like not a great idea, but the sequel that shouldn't have been turns out to be a good movie in its own right. Lots of funny shit in here, with some real knee-slapping moments mixed in, and only a little bit of slowing down for slightly awkward sentiment and (perhaps) self-examination. I guess you really can go home again.

Jersey Girl

Director Kevin Smith himself seems to disavow this one; I'm not so sure that's necessary. If you can steer yourself past a couple of gigantic logical flaws in the plot, you will be rewarded with a sweet, charming, emotionally true movie. Ignore the flaws, enjoy the flick. As simple as that.

Clerks

The one that got Kevin Smith off and running, and the genesis tub wherein Jay and Silent Bob were spawned. Forerunner to two "Best Of All" films (Chasing Amy and Dogma), and few movies can make such a lofty claim. Watch it, or watch it again.