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Alison Pink (7 KP) rated Performance Anomalies in Books
Jan 15, 2018
Well after reading Performance Anomalies I'd have to say that Victor Robert Lee has created an interesting new male lead in the spy genre with his Cono character. Cono is gifted with lighting fast processing skills & reflexes which he uses to help out various international interests. You can't help but feel for Cono & his drifting life style. But I also found myself disliking him too...he seems to flit through life without laws. He is an interesting blend of personalities. I look forward to seeing how Lee decides to expand the character & the series.
Chris Sawin (602 KP) rated Game of Death (1978) in Movies
Jun 23, 2019 (Updated Jun 23, 2019)
'Game of Death' was the film Bruce Lee was working on when he died. He had stopped working on this to work on 'Enter the Dragon' and never had the opportunity to complete ‘Game of Death.’ The good news is that Lee shot a good 100 minutes worth of footage (only around 30 mins survived, the other 70 mins are lost) for 'Game of Death' (they only used around 12 minutes of this footage in the actual film). The bad news is Robert Clouse came around and tried to make an entire film leading up to the Bruce Lee footage that was shot including Bruce Lee look-a-likes and a cardboard cutout. The entire film is pretty awful since the story is lame and the acting is over dramatic.
The archived footage of Bruce Lee just seems forced and thrown in to try and make a buck while the actual footage of Lee's funeral feels tasteless and inconsiderate. Clouse would unfortunately give birth to something that would spawn many films including Bruce Lee clones starring the likes of Bruce Li; a lukewarm sensation known as Bruceploitation. The actual Bruce Lee footage is some of his best, but is only shown in its entirety in the documentary "A Warrior's Journey" included in the two-disc special edition DVD of ‘Enter the Dragon.’ So the film itself honestly isn’t worth your time unless you really just want to see Sammo Hung’s brief appearance.
The archived footage of Bruce Lee just seems forced and thrown in to try and make a buck while the actual footage of Lee's funeral feels tasteless and inconsiderate. Clouse would unfortunately give birth to something that would spawn many films including Bruce Lee clones starring the likes of Bruce Li; a lukewarm sensation known as Bruceploitation. The actual Bruce Lee footage is some of his best, but is only shown in its entirety in the documentary "A Warrior's Journey" included in the two-disc special edition DVD of ‘Enter the Dragon.’ So the film itself honestly isn’t worth your time unless you really just want to see Sammo Hung’s brief appearance.
Mickey Rourke recommended The Godfather (1972) in Movies (curated)
I had never heard about this true crime cases till I come upon Ann Marie Ackermann most excellent book. The story begins in the German town of Bonnigheim in the year 1835 where the town is left shocked by the assassination of its most respected citizen it's mayor. The reader follows the twists and turns of the muder investigation as a killer is searched for.
Eventually the investigation leads to the other side of the world and to one of Americans most respected Civil War heroes General Robert E Lee. The author has produced an excellent well researched study of the case and I would highly recommend this to other readers .
Eventually the investigation leads to the other side of the world and to one of Americans most respected Civil War heroes General Robert E Lee. The author has produced an excellent well researched study of the case and I would highly recommend this to other readers .
Matthew Krueger (10051 KP) rated The Curse of Frankenstein (1957) in Movies
Nov 5, 2020
Peter Crushing (1 more)
Christopher Lee
The Monster Inside
The Curse of Frankenstein- is a great movie. Hammer films is a excellent studio, cause their brought back the universal monsters and put their own spin on it. And with The Curse of Frankenstein their put their own spin on Frankenstien. And did it work, yes.
The plot: Victor Frankenstein (Peter Cushing) is a brilliant scientist willing to stop at nothing in his quest to reanimate a deceased body. After alienating his longtime friend and partner, Paul Krempe (Robert Urquhart), with his extreme methods, Frankenstein assembles a hideous creature (Christopher Lee) out of dead body parts and succeeds in bringing it to life. But the monster is not as obedient or docile as Frankenstein expected, and it runs amok, resulting in murder and mayhem.
It was Hammer's first colour horror film, and the first of their Frankenstein series.
Professor Patricia MacCormack called it the "first really gory horror film, showing blood and guts in colour".
Peter Cushing, who was then best known for his many high-profile roles in British television, had his first lead part in a movie with this film. Meanwhile, Christopher Lee's casting resulted largely from his height (6' 5"), though Hammer had earlier considered the even taller (6 '7") Bernard Bresslaw for the role.
Unlike the Universal Frankenstein series of the 1930s and 1940s, in which the character of the Monster was the recurring figure while the doctors frequently changed, it is Baron Frankenstein that is the connective character throughout the Hammer series, while the monsters change.
Its a excellent film.
The plot: Victor Frankenstein (Peter Cushing) is a brilliant scientist willing to stop at nothing in his quest to reanimate a deceased body. After alienating his longtime friend and partner, Paul Krempe (Robert Urquhart), with his extreme methods, Frankenstein assembles a hideous creature (Christopher Lee) out of dead body parts and succeeds in bringing it to life. But the monster is not as obedient or docile as Frankenstein expected, and it runs amok, resulting in murder and mayhem.
It was Hammer's first colour horror film, and the first of their Frankenstein series.
Professor Patricia MacCormack called it the "first really gory horror film, showing blood and guts in colour".
Peter Cushing, who was then best known for his many high-profile roles in British television, had his first lead part in a movie with this film. Meanwhile, Christopher Lee's casting resulted largely from his height (6' 5"), though Hammer had earlier considered the even taller (6 '7") Bernard Bresslaw for the role.
Unlike the Universal Frankenstein series of the 1930s and 1940s, in which the character of the Monster was the recurring figure while the doctors frequently changed, it is Baron Frankenstein that is the connective character throughout the Hammer series, while the monsters change.
Its a excellent film.
Sarah (7798 KP) rated Gremlins 2: The New Batch (1990) in Movies
Dec 22, 2019
A worthy sequel
The Gremlins films huge favourites of mine as a child (worrying as I probably wasn't old enough to watch them), but I always preferred the sequel. Watching it back now, I'm so pleased to say it's still a worthy and rather entertaining sequel.
The plot has been scaled up since the first film, and whilst it's missing the christmas and horror style setting, it more than makes up with the sheer daftness of the entire story. It's ridiculous but so funny, with some great physical effects with the Gremlins, especially as they get themselves into new and interesting situations. Seen as this was released in 1990 the CGI is a little dated but fortunately this is used sparingly. The original cast are back, with some wonderful additions in the marvellous Christopher Lee and Robert Picardo. I remember parts of this terrifying me as a child and whilst it doesn't have quite the same effect now, this definitely isn't a kids film! This entire film is just wonderfully smart, silly and just a riot from start to finish. Definitely underrated and overlooked when it comes to the Gremlins films, but for me a worthy sequel.
The plot has been scaled up since the first film, and whilst it's missing the christmas and horror style setting, it more than makes up with the sheer daftness of the entire story. It's ridiculous but so funny, with some great physical effects with the Gremlins, especially as they get themselves into new and interesting situations. Seen as this was released in 1990 the CGI is a little dated but fortunately this is used sparingly. The original cast are back, with some wonderful additions in the marvellous Christopher Lee and Robert Picardo. I remember parts of this terrifying me as a child and whilst it doesn't have quite the same effect now, this definitely isn't a kids film! This entire film is just wonderfully smart, silly and just a riot from start to finish. Definitely underrated and overlooked when it comes to the Gremlins films, but for me a worthy sequel.
Gareth von Kallenbach (962 KP) rated Jason Bourne (2016) in Movies
Jun 19, 2019
It is hard to believe that 2007 was the last time Matt Damon portrayed Jason Bourne. The series continued with Jeremy Renner playing a character set in the same universe in the 2012 release “The Bourne Legacy”, but fans have longed for more from the series originator.
Thankfully Writer/Director Paul Greengrass has returned with Damon to in the new film “Jason Bourne” The film opens with Bourne in hiding and living off the grid in Greece. He sustains himself by taking part in full contact matches and has regained more of the memories he has forgotten since the events prior to the first film.
His former associate Nicky Parsons (Julia Stiles) has managed to hack into the government and has obtained numerous files about covert operations including a new and greater program as well as information about Bourne and his father.
The leak catches the attention of Director Robert Dewey (Tommy Lee Jones) and he tasks ambitious Agent Heather Lee (Alicia Vikander) to find and stop Bourne and Parsons.
At the same time, Dewey is working with a software developer to ensure that the government has unlimited access to all the users of his software in order to maintain surveillance upon them. Uncomfortable with this arrangement the developer (Aaron Kalloor) threatens to expose what the government has been up to at a big software expo in Las Vegas before a worldwide audience.
With this new threat and Bourne resurfaced, a cold and deadly assassin is dispatched and in locales ranging from Greece, Berlin, London, and Las Vegas as Bourne attempts to get the answers he wants and to settle some old scores with danger all around him.
The film takes a bit to get up to speed but once it does it delivers the action and political intrigue that fans of the series have come to expect. Naturally it does at times require a few leaps of faith but in the end, Bourne is back better than ever and Damon reminds us of how much he owns this character with her performance. Here is hoping we do not have as long a wait for him to return in a new Bourne adventure.
http://sknr.net/2016/07/29/84102/
Thankfully Writer/Director Paul Greengrass has returned with Damon to in the new film “Jason Bourne” The film opens with Bourne in hiding and living off the grid in Greece. He sustains himself by taking part in full contact matches and has regained more of the memories he has forgotten since the events prior to the first film.
His former associate Nicky Parsons (Julia Stiles) has managed to hack into the government and has obtained numerous files about covert operations including a new and greater program as well as information about Bourne and his father.
The leak catches the attention of Director Robert Dewey (Tommy Lee Jones) and he tasks ambitious Agent Heather Lee (Alicia Vikander) to find and stop Bourne and Parsons.
At the same time, Dewey is working with a software developer to ensure that the government has unlimited access to all the users of his software in order to maintain surveillance upon them. Uncomfortable with this arrangement the developer (Aaron Kalloor) threatens to expose what the government has been up to at a big software expo in Las Vegas before a worldwide audience.
With this new threat and Bourne resurfaced, a cold and deadly assassin is dispatched and in locales ranging from Greece, Berlin, London, and Las Vegas as Bourne attempts to get the answers he wants and to settle some old scores with danger all around him.
The film takes a bit to get up to speed but once it does it delivers the action and political intrigue that fans of the series have come to expect. Naturally it does at times require a few leaps of faith but in the end, Bourne is back better than ever and Damon reminds us of how much he owns this character with her performance. Here is hoping we do not have as long a wait for him to return in a new Bourne adventure.
http://sknr.net/2016/07/29/84102/
Bob Mann (459 KP) rated Manchester by the Sea (2016) in Movies
Sep 29, 2021
Wow! I’d heard all about the Oscar hype surrounding this film but to be honest, while I thought I would be seeing a solid and well-made indie film, I went into it without great expectations of having an ‘enjoyable’ time: the trailer had “angst” written all over it. And – sure – it is emotional and harrowing in places. However, I was completely knocked out by the depth, the intelligence and the humour of this masterpiece.
‘Family troubles’ is a common trope for the movies, and I was strongly reminded at times in watching this movie of a multi-Oscar winning classic of my youth: Robert Redford’s “Ordinary People” back in 1980. In that film the relationship between parents (Mary Tyler-Moore and Donald Sutherland) and their teenage son (Timothy Hutton) is rocked by the accidental death of another family member. Similarly, in “Manchester by the Sea” a drifting handyman Lee Chandler (Casey Affleck, “Triple 9“, “Interstellar“) gets the shocking news that his only brother Joe (Kyle Chandler, “The Wolf of Wall Street“) has suddenly passed away, leaving behind a mid-teens son Patrick (Lucas Hedges) with no-one to look after him.
With the other option being an unstable and ex-alcoholic mother Elise (Gretchen Mol) – now divorced and living in a strictly pious household with new husband Jeffrey (Matthew Broderick) – Joe has legally plumped for naming Lee as the boy’s guardian. This is much to Lee’s surprise and annoyance. For Lee is a man-adrift: an antisocial loner with a very short fuse. Having any sort of responsibility is not in his game plan.
With the ground too frozen to bury his brother, Lee is forced to remain in Manchester-by-the-Sea for a few weeks: a town he can’t stand and a town that, for some reason, can’t stand him. Can Lee’s attitude be softened by his lively and over-sexed nephew? Or will he just continue his emotional and social decline towards a gutter and a brown-bag?
Where this film surprises – with a strong kick to the gut – is that while I have described the high-level story in the paragraphs above that the trailer depicts, there is a whole other dimension to the tale that is hidden and truly astonishing. No spoilers, but if you are not shocked and moved by it, then you need your humanity chip reset.
Casey Affleck is Oscar-nominated now for Best Actor and I would love to see him win for this. I had a real go at his brother, Ben, for a lack of facial variation in his performance in “Live By Night“. Here, while Casey has a similar dour and pretty rigid demeanour, his performance is chalk-and-cheese compared to Ben. He channels a shut-down rage in his eyes that is both haunting and disturbing in equal measure.
Young Lucas Hedges – overlooked by the BAFTAs (he is in the “Rising Star” category) but yesterday nominated for a Best Supporting Actor Oscar – is equally strong, burying his teenage grief in guitars, sex and smart phones in a highly believable way.
Supporting roles are equally strong, with Michelle Williams – albeit only having limited screen time – delivering truly memorable scenes, notably the street encounter with Lee (as featured on the poster) which is electrifying. She is also Oscar nominated for the role.
What really makes these performances shine is the elegant directing by Kenneth Lonergan, better known for his screenplays on films like “Analyze This” and “Gangs of New York”. He gives the actors time… lots of time. A typical example is when young Patrick walks into Lee’s bedroom and stares at some photos on his bedside table before walking on. It must be a good 20 to 30 seconds used, but time really well spent. The film spectacularly uses flash-backs to great effect, with the only visual notification that you are in a different time-zone being the living and breathing appearance of Joe in the shot.
Lonergan also writes the screenplay, and I mentioned in my introduction the humour used. There are some outright belly laughs in this film, which feels incongruous with the morbid subject matter but which also feels guiltily appropriate (we’ve all surely had an experience where a tense funeral mood is lightened by an uncle loudly farting at the back of the church, or similar!).
Manchester-by-the-Sea is a picturesque place in Massachusetts, and the camera work by Jody Lee Lipes (“Martha Marcy May Marlene”, “Trainwreck”) lovingly makes use of that. There is incredibly crisp focus, with the opening boat scene looks like it is hyper-HD.
This is a truly stunning film, and one that will live with me for many years to come. For that reason it receives my highest accolade together with my best wishes for success at the forthcoming Oscars. If you haven’t yet, go see it.
‘Family troubles’ is a common trope for the movies, and I was strongly reminded at times in watching this movie of a multi-Oscar winning classic of my youth: Robert Redford’s “Ordinary People” back in 1980. In that film the relationship between parents (Mary Tyler-Moore and Donald Sutherland) and their teenage son (Timothy Hutton) is rocked by the accidental death of another family member. Similarly, in “Manchester by the Sea” a drifting handyman Lee Chandler (Casey Affleck, “Triple 9“, “Interstellar“) gets the shocking news that his only brother Joe (Kyle Chandler, “The Wolf of Wall Street“) has suddenly passed away, leaving behind a mid-teens son Patrick (Lucas Hedges) with no-one to look after him.
With the other option being an unstable and ex-alcoholic mother Elise (Gretchen Mol) – now divorced and living in a strictly pious household with new husband Jeffrey (Matthew Broderick) – Joe has legally plumped for naming Lee as the boy’s guardian. This is much to Lee’s surprise and annoyance. For Lee is a man-adrift: an antisocial loner with a very short fuse. Having any sort of responsibility is not in his game plan.
With the ground too frozen to bury his brother, Lee is forced to remain in Manchester-by-the-Sea for a few weeks: a town he can’t stand and a town that, for some reason, can’t stand him. Can Lee’s attitude be softened by his lively and over-sexed nephew? Or will he just continue his emotional and social decline towards a gutter and a brown-bag?
Where this film surprises – with a strong kick to the gut – is that while I have described the high-level story in the paragraphs above that the trailer depicts, there is a whole other dimension to the tale that is hidden and truly astonishing. No spoilers, but if you are not shocked and moved by it, then you need your humanity chip reset.
Casey Affleck is Oscar-nominated now for Best Actor and I would love to see him win for this. I had a real go at his brother, Ben, for a lack of facial variation in his performance in “Live By Night“. Here, while Casey has a similar dour and pretty rigid demeanour, his performance is chalk-and-cheese compared to Ben. He channels a shut-down rage in his eyes that is both haunting and disturbing in equal measure.
Young Lucas Hedges – overlooked by the BAFTAs (he is in the “Rising Star” category) but yesterday nominated for a Best Supporting Actor Oscar – is equally strong, burying his teenage grief in guitars, sex and smart phones in a highly believable way.
Supporting roles are equally strong, with Michelle Williams – albeit only having limited screen time – delivering truly memorable scenes, notably the street encounter with Lee (as featured on the poster) which is electrifying. She is also Oscar nominated for the role.
What really makes these performances shine is the elegant directing by Kenneth Lonergan, better known for his screenplays on films like “Analyze This” and “Gangs of New York”. He gives the actors time… lots of time. A typical example is when young Patrick walks into Lee’s bedroom and stares at some photos on his bedside table before walking on. It must be a good 20 to 30 seconds used, but time really well spent. The film spectacularly uses flash-backs to great effect, with the only visual notification that you are in a different time-zone being the living and breathing appearance of Joe in the shot.
Lonergan also writes the screenplay, and I mentioned in my introduction the humour used. There are some outright belly laughs in this film, which feels incongruous with the morbid subject matter but which also feels guiltily appropriate (we’ve all surely had an experience where a tense funeral mood is lightened by an uncle loudly farting at the back of the church, or similar!).
Manchester-by-the-Sea is a picturesque place in Massachusetts, and the camera work by Jody Lee Lipes (“Martha Marcy May Marlene”, “Trainwreck”) lovingly makes use of that. There is incredibly crisp focus, with the opening boat scene looks like it is hyper-HD.
This is a truly stunning film, and one that will live with me for many years to come. For that reason it receives my highest accolade together with my best wishes for success at the forthcoming Oscars. If you haven’t yet, go see it.
BankofMarquis (1832 KP) rated BlacKkKlansman (2018) in Movies
Aug 20, 2018
The first real Oscar contender of 2018
The first shot of the 2018 Oscar race has been fired and it is Spike Lee's BLACKkKLANSMAN. If you are an "Oscar completest" I highly recommend you check this film out as you will be hearing it's name called (probably many times) when the Oscar nominations are revealed.
But...is it a good film?
For the most part, yes.
Based on the incredible true story of Colorado Springs undercover office, Ron Stallworth, an African-American, who was able to infiltrate the KKK via the phone. He then needs a surrogate to keep the subterfuge up in face to face meetings.
In playing Stallworth, relative newcomer John David Washington (son of Denzel) shows that he has inherited at least some of his famous father's acting chops. His portrayal of Washington shows a conflicted man, determined to do his job while juggling his feelings and responsibilities of being a black man in early 1970's America.
Laura Harrier (Liz in SPIDERMAN: HOMECOMING) matches Washington beat for beat as Black activist - and potential love interest - Patrice Dumas who has razor-sharp focus on changing the plight of African Americans and drives Stallworth to thinking about more than just his job.
Other strong performances comes from Topher Grace (as KKK Head David Duke), Robert John Burke as Chief Bridges and Corey Hawkins in an extended cameo as Kwame Ture (aka 1960's Black Activist Stokely Carmichael). I really liked the passion and furvor Hawkins brought to this part.
But...the standout performance in this film comes from Adam Driver as the "white face" of Ron Stallworth to the KKK. He portrays Flip Zimmerman who has been constantly denying his Jewish heritage to pass as a WASP in this world and when he comes face to face with race hatred, he must confront his own inner feelings towards his own past. This is another strong performance by Driver (who is much, much more than just Kylo Ren) and I expect to hear his name called when Oscar nominations are announced.
But...good acting aside...this is a Spike Lee "joint" in all the ways (good and bad) that Spike Lee directs his films. There is a cleanliness in the way he drives the narrative never losing focus on what the main theme of the proceedings needs to be. He paints interesting pictures on the screen and crafts a strong, message picture that should be seen by all.
But...he does have a tendency to overplay his hand, hitting the audience over the head over and over again with his themes to the point of me wanting to say to the screen "all right already, I get it!". This knocks the film down just a hair.
But...that is the price of admission for a very good Spike Lee film, one that I highly recommend you see.
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
But...is it a good film?
For the most part, yes.
Based on the incredible true story of Colorado Springs undercover office, Ron Stallworth, an African-American, who was able to infiltrate the KKK via the phone. He then needs a surrogate to keep the subterfuge up in face to face meetings.
In playing Stallworth, relative newcomer John David Washington (son of Denzel) shows that he has inherited at least some of his famous father's acting chops. His portrayal of Washington shows a conflicted man, determined to do his job while juggling his feelings and responsibilities of being a black man in early 1970's America.
Laura Harrier (Liz in SPIDERMAN: HOMECOMING) matches Washington beat for beat as Black activist - and potential love interest - Patrice Dumas who has razor-sharp focus on changing the plight of African Americans and drives Stallworth to thinking about more than just his job.
Other strong performances comes from Topher Grace (as KKK Head David Duke), Robert John Burke as Chief Bridges and Corey Hawkins in an extended cameo as Kwame Ture (aka 1960's Black Activist Stokely Carmichael). I really liked the passion and furvor Hawkins brought to this part.
But...the standout performance in this film comes from Adam Driver as the "white face" of Ron Stallworth to the KKK. He portrays Flip Zimmerman who has been constantly denying his Jewish heritage to pass as a WASP in this world and when he comes face to face with race hatred, he must confront his own inner feelings towards his own past. This is another strong performance by Driver (who is much, much more than just Kylo Ren) and I expect to hear his name called when Oscar nominations are announced.
But...good acting aside...this is a Spike Lee "joint" in all the ways (good and bad) that Spike Lee directs his films. There is a cleanliness in the way he drives the narrative never losing focus on what the main theme of the proceedings needs to be. He paints interesting pictures on the screen and crafts a strong, message picture that should be seen by all.
But...he does have a tendency to overplay his hand, hitting the audience over the head over and over again with his themes to the point of me wanting to say to the screen "all right already, I get it!". This knocks the film down just a hair.
But...that is the price of admission for a very good Spike Lee film, one that I highly recommend you see.
Letter Grade: A-
8 (out of 10) stars and you can take that to the Bank(ofMarquis)
LeftSideCut (3778 KP) rated Jay and Silent Bob Reboot (2019) in Movies
Mar 7, 2020
To put it simply, if you're not too keen on anything related to Jay & Silent Bob or Kevin Smith, then this entry is not going to change your mind!
The first film from way back in 2001 was already loveably dumb enough. It's collision of immature humour, social commentary, slapstick silliness and plentiful references to past Kevin Smith projects leant it an awkward charm, and things are no different this time around, with exception of everyone involved looking older.
The plot revolves around the titular duo traveling to Hollywood to stop the reboot of a comic book film featuring characters based on their likenesses (literally the same plot as the first). Cue plenty of remarks about the state of cinema and the unstoppable geyser of reboots/remakes/re-imaginings, followed by an absurd road trip, and everything feels familiar and homely.
Jason Mewes and Kevin Smith are just as likable as they every have been as Jay & SB, and the supporting characters, lead by Smith's daughter Harley Quinn, are much the same (although they took a bit longer to grow on me).
There is a veritable plethora of cameos and Clerks call backs peppered throughout, including the likes of Ben Affleck, Matt Damon, Chris Hemsworth, Joey Lauren Adams, Melissa Benoist, Val Kilmer, Jason Biggs, Robert Kirkman....the list goes on and on. None of these inclusions feel particularly forced, and everyone seems pretty willing to be a part of the silliness.
The script is a mixed bag of decent gags, meta lines (sometimes a bit too over the top, to the point of almost insulting the audience!), Kevin Smith talking a whole bunch of shit about himself and some genuinely touching moments. Seriously - towards the films climax, I genuinely fretted that i might let out a little sob...
The truth is, I grew up watching films like Clerks, Dogma, Mallrats etc, and whenever a new entry is put out, I remember just how much these niche comedies mean to me. Jay & Silent Bob Reboot fits right in there with the rest of them.
It's not perfect by any means, but this is a film that can pull off Chris Jericho playing a KKK leader, Redman and Method Man giving parenting, whilst still including a lip wobbling tribute to the late Stan Lee (a we'll know fan of Kevin Smith and his work). How can anyone not appreciate that!?
The first film from way back in 2001 was already loveably dumb enough. It's collision of immature humour, social commentary, slapstick silliness and plentiful references to past Kevin Smith projects leant it an awkward charm, and things are no different this time around, with exception of everyone involved looking older.
The plot revolves around the titular duo traveling to Hollywood to stop the reboot of a comic book film featuring characters based on their likenesses (literally the same plot as the first). Cue plenty of remarks about the state of cinema and the unstoppable geyser of reboots/remakes/re-imaginings, followed by an absurd road trip, and everything feels familiar and homely.
Jason Mewes and Kevin Smith are just as likable as they every have been as Jay & SB, and the supporting characters, lead by Smith's daughter Harley Quinn, are much the same (although they took a bit longer to grow on me).
There is a veritable plethora of cameos and Clerks call backs peppered throughout, including the likes of Ben Affleck, Matt Damon, Chris Hemsworth, Joey Lauren Adams, Melissa Benoist, Val Kilmer, Jason Biggs, Robert Kirkman....the list goes on and on. None of these inclusions feel particularly forced, and everyone seems pretty willing to be a part of the silliness.
The script is a mixed bag of decent gags, meta lines (sometimes a bit too over the top, to the point of almost insulting the audience!), Kevin Smith talking a whole bunch of shit about himself and some genuinely touching moments. Seriously - towards the films climax, I genuinely fretted that i might let out a little sob...
The truth is, I grew up watching films like Clerks, Dogma, Mallrats etc, and whenever a new entry is put out, I remember just how much these niche comedies mean to me. Jay & Silent Bob Reboot fits right in there with the rest of them.
It's not perfect by any means, but this is a film that can pull off Chris Jericho playing a KKK leader, Redman and Method Man giving parenting, whilst still including a lip wobbling tribute to the late Stan Lee (a we'll know fan of Kevin Smith and his work). How can anyone not appreciate that!?