In a film culture overrun by Marvel epics, wild-stunt action flicks, and other grandiose juvenilia, it is often said that the mid-budget, script-driven movie for adults is becoming a thing of the p…
,” a shaggy antic throwaway that premiered Tuesday in the first of two one-night shows at 600 theaters , stands as a proud exception to the rule of corporate blockbuster overkill.
It’s without doubt a script-driven movie — not just because Smith, after 25 years as a filmmaker, wouldn’t know an expressive camera angle if it bit him, but because he remains, in his rowdy stoner never-made-a-dick-joke-he-didn’t-like way, a furiously flowing wordsmith, one who can write the kind of spontaneous sick-comedy monologues that heat up the screen. The budget for “” was $10 million, which puts it right at the high end of the scrappy indie scale.
It’s a ’90s nostalgia movie that relentlessly tweaks ’90s nostalgia . It makes relentless fun of sequels, reboots, and remakes, even though it’s Smith’s version of all those things. Beyond that, it’s a comedy of thin light ripped-from-the-parking-lot characters who have become, over time, almost mind-bogglingly meta.
And I haven’t even mentioned the fact that Smith casts his own adult daughter, Harley Quinn Smith, as Milly, who turns out to be — unbeknownst to her — the daughter of’ Jay. If Jay were still the sullen raunchy hip-hop skate punk of old, that connection might be too close for comfort. But Jason Mewes, who is now 45, looks healthier, more mellow, and a touch more tragic than he used to.
There are enough actors and characters from Smith’s old films to make this a kind of class reunion, whether it’s Jason Lee’s Brodie, from “Mallrats,” who delivers a deliriously spot-on rant about the dead-end corruption of reboot culture, or Matt Damon’s Loki from “Dogma” , now born again, or Ben Affleck, who as Holden McNeil from “Chasing Amy” acts with a blithe badassery that has most definitely been around the block.
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