Smith, Kevin (1970- )

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    ‘Chasing Chasing Amy’ Review: A Fan’s Favorite

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    Sav Rodgers sets out to define the legacy of Kevin Smith’s “Chasing Amy” in this documentary, which is elevated by one instructive interview.Partway through “Chasing Chasing Amy,” Sav Rodgers, a first-time feature director and a mega fan of the 1997 movie he’s exploring, sits to interview the film’s star, Joey Lauren Adams. He begins to discuss the role when Adams cuts in.“Are you looking to me for something that I can’t give you?” she asks Rodgers. “I don’t know what it is you want from me.”The moment marks a turning point in Rodgers’s agreeable documentary, which sets out to provide a contemporary lens on “Chasing Amy.” It opens with the director sharing that he once used the story as a queer field guide and a source of comfort amid adolescent struggles. He then calls on writers and thinkers to unpack the movie’s themes and fraught position in the queer canon.But it is not until his interview with Adams that Rodgers touches on the most urgent questions of his cinematic survey. What do filmmakers owe their fans? Who can lay claim to a movie? And who defines its legacy?Adams goes on to share painful memories from that era, including leering Hollywood men — Harvey Weinstein was the producer — and jealous barbs from the “Chasing Amy” director Kevin Smith, her boyfriend at the time.Rodgers, a sheepish and at times bewildered guide, seems ill-equipped to reconcile Adams’s reflections with his admiration for Smith and “Chasing Amy,” and instead pivots the story to focus on his own personal and professional evolution. It’s a convenient ending, but one senses that Rodgers can’t see that, in his overview of the movie’s cultural impact, some perspectives are more instructive than others.Chasing Chasing AmyNot rated. Running time: 1 hour 25 minutes. In theaters. More

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      ‘The 4:30 Movie’ Review: Kevin Smith Comes of Age

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      The writer-director Kevin Smith looks back fondly on his New Jersey childhood in this semi-autobiographical coming-of-age comedy.“The 4:30 Movie,” a nostalgic period comedy about teenage cinephiles coming of age in small-town New Jersey, is alternately juvenile and sentimental. It’s an awkward tonal balance familiar from the writer-director Kevin Smith’s early features, including “Mallrats” and the ’90s cult classic “Clerks.”But with its soft lighting and almost obsessive fondness for its mid-80s production design, this is clearly Smith working in a different register — more sincere and personal, as befits what he’s described as his “secret origin story.”The jokes range from old-school, foul-mouthed patter (lots of stuff about “second base” and various euphemisms for masturbation) to throwback cultural signifiers (including “The Brady Bunch,” Van Halen and Hands Across America), delivered by Austin Zajur, Reed Northrup and Nicholas Cirillo with capable if largely unamusing adolescent brio.You can tell Smith has put more effort into this movie than both his trite studio cash-ins (“Cop Out”) and his dashed-off experiments (“Yoga Hosers”), trying earnestly to account for how he fell in love with cinema and became a filmmaker. It’s like “The Fabelmans” if Steven Spielberg had grown up to make bad movies.The script is loaded with droll, audience-flattering nods to the future, where characters confidently insist things that viewers know make them sound stupid, like “no one will ever pay to see a Batman movie” or “the Mets will never win the World Series.” This is the cheapest type of joke you can make in a period comedy, and “The 4:30 Movie” makes it constantly. Effort goes only so far, and “The 4:30 Movie” doesn’t surpass Smith’s usual limitations.The 4:30 MovieRated R for strong language, mild violence, some sexuality and lewd humor. Running time: 1 hour 28 minutes. In theaters. More

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      ‘Clerks III’ Review: From the Heart

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      Kevin Smith revisits his convenience store characters, and his life, with this sequel.These days more than ever, personal filmmaking deserves to be celebrated merely for manifesting itself. Which doesn’t mean that personal filmmaking doesn’t come in some confounding forms.From his first feature, the very low-budget, black-and-white “Clerks” (1994), the writer-director Kevin Smith has only ever made movies about himself. Not just himself as a person, but himself as a sensibility: quick-witted, working-class, pop-culture-obsessive wiseass Jersey boy. In “Clerks” he put it across perfectly. In the film’s second sequel, “Clerks III,” he is not nearly as deft.Paradoxically, some of this is because of Smith’s relative maturity. A husband and a father and a heart attack survivor who is now 52, he’s got more on his mind than being a wiseass. Instead of following up the 2006 film “Clerks II” with more of that picture’s profane exuberant absurdity, he brings back Dante and Randal and Jay and Silent Bob and does some stocktaking.The movie is bouncy at first, though the actors Brian O’Halloran and Jeff Anderson, so rawly naturalistic in the earlier movies, here seem like they’re doing bits. Still, three words characterize the first third or so of the picture: not funny enough. As in, a new character is nicknamed Blockchain. Which is funnier than that character nicknamed Podcast in the most recent “Ghostbusters” movie, but, you know.Randall has a heart attack, and, realizing he has to make something of his life, decides to direct a movie. About, yes, working at a convenience store. Not funny enough turns to often not funny, a star-studded audition scene (Ben Affleck! Danny Trejo! Freddie Prinze Jr.!) notwithstanding.While Smith has often broken the fourth wall in his pictures, here he uses the make-a-movie plot to go big-time meta. But his idea of meta fails to split the difference between the Marvel Cinematic Universe and the French New Novel. It has more the manner of a pinball in a machine that’s about to enter tilt mode.For instance, at one point the trench-coated Silent Bob, played as ever by Smith, breaks character and, as Smith the filmmaker, lectures Randal about the hideous color scheme of a shot he’s framing. The joke falls flat, and not just because Smith’s visual mode is rarely mistaken for that of “The Red Shoes.”The wobbly ending combines the confounding and frequently schticky meta mode with the forced sentimentality of that Nicole Kidman AMC Theaters promo. My rooting interest in Smith notwithstanding (full disclosure: I, too, am a wiseass Jersey boy), it made me wince.Clerks IIIRated R. It’s a Kevin Smith movie. Running time: 1 hour 55 minutes. In theaters. More