Kevin Smith exploits nostalgia

(From left) Randall (Jeff Anderson) and Dante (Brian O'Loran) in Kevin Smith's Clerks III.

(From left) Randall (Jeff Anderson) and Dante (Brian O’Loran) in the Kevin Smith movie third clerks.
picture: Lionsgate

There is a 90-minute movie that can be watched hidden in about two hours of running time third clerks. It’s too bad that writer and director Kevin Smith doesn’t have the clarity of vision he once had to refine the ideas well enough to let his narrative speak. Instead, he finally explains what this movie is attributed to. must be Done: A tribute to those who inspired what became the trilogy. Had he made this third chapter of the Quick-Stop Groceries saga an “epic” of a self-reflective exploration of its lovable staff negotiating a world full of anxiety that has arisen not only to meet their awful standards but to reward them, we’d all be better off. Instead, it offers a sad repetition that fails to deliver an emotionally learned outcome for the characters who must triumph over their adversities.

Sixteen years after Dante Hicks (Brian O’Lorran) and his cynical friend Randall Graves (Jeff Anderson) purchased and renovated their former workplace, the behind-the-counter duo is still serving up unwanted sass to their quirky clients. Local exhaustion Jay (Jason Mews) and Silent Bob (Smith) are still present outside the mini-market. Outwardly, it seemed that life remained the same, and yet they all experienced great gains and losses. Randall turns his bankrupt video rental store into a successful weed dispensary, but Dante is dealt with an unlucky hand, as he fails to address his anguish due to the sudden, accidental death of his wife Becky (Rosario Dawson) and young daughter. His friendship with Randall continues, but she’s about to undergo her biggest test.

Randall, after an intense altercation with the Bible, employee Elias (Trevor Furman), collapses on the store floor. He is having a heart attack, which sends Elias into a frenzy of anxious prayer and leaves Dante weak due to the trauma he had previously experienced with the loss of his loved ones. The emergency and life-saving struts placed in Randall’s heart give him an idea of ​​the epiphany: Instead of being a movie watcher, he’ll make up an idea of ​​his life. Hustle and some fun ensues as he writes, casts and portrays what has become the movie we know clerks.

String continuity is observed only when it is convenient for Smith. The financial problems of the renovated store do not completely correspond to the end second clerks (Where perennial slackers Jay and Silent Bob saved the day), a choice staged primarily to bring back his perennial wife and real-life Jennifer Schwalbach Smith, played by Dante’s feisty ex-fiancé, Emma. While he recycles Dante’s perpetual struggle of feeling stagnant and discouraged, he betrays the character’s core, and surprisingly doesn’t allow his darkened creativity to grow as it has so consistently in the past. It’s frustrating.

Even worse, Smith revamps similar hits from the previous 2006 film’s third act, which not only feel redundant, but highlight the critical need for extensive commentary in the franchise’s meta-context. Randall is tasked with re-learning the same specific lesson about his friendship with Dante as before, but this time with less subtlety. It’s a friction-reducing re-friction in both clerks And the second scribe, whose narrative intensity is undermined by unfunny jokes and gags. Meanwhile, “fridging” the lead woman in the series to give a male character an arc seems like a particularly wrong and dishonest move.

Clerks III (2022 Movie) Official Trailer – Kevin Smith

While the movie maker stores the image with reconnects and references in its patented style (don’t worry, there’s more dialogue about the ambiguity star Wars Funny jokes are few and far between. A revolving door of unions from Sarah Michelle Gellar, Melissa Benoist, and Ben Affleck, among others, animates the actions, providing a respite from the second act’s plateau of energy. He also relies heavily on soundtrack cues, including My Chemical Romance’s “Welcome To The Black Parade,” Jefferson Starship’s “Find Your Way Back,” and John Gorka’s “I’m From New Jersey,” to heighten his pseudo-emotional openings.

Smith’s visions of old age and nostalgia mask a marked and disheartening inability of the soul to deal with fine points, which it did previously. It’s admirable that he keeps these guys parodies back into their jersey bubble, but we live in an age full of Dantes and Randals, and now they feel vulgar, not comfortable. Although Smith and his collaborators seem excited to carefully reunite us with these frowning Gen-Xers during their midterms.Life crises, their efforts can use a lot of polishing. Ultimately, the lack of any meaningful feeling about grief or personal growth (or anything else) makes the familiar rote story feel particularly lazy—which is why third clerks It lives up to the legacy of its uninspiring characters in all the wrong ways.

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