Review of Clerks II (2006) by Kylie P — 29 Jan 2010

From August 2, 2007:

The question that immediately presents itself upon viewing Clerks II is why Jay and Silent Bob Strike Back, a seemingly fitting end for an odd but wildly amusing assortment of films that celebrate male insecurities, fanboyism, and vulgarity in ways that should not appeal to a mass audience, was not, in fact, actually the end. Some of Kevin Smith's films broach complicated subjects (faith in Dogma, love and sex in Chasing Amy), while others were pure joyrides of testosterone (Jay and Bob). Jay and Silent Bob are designed to be supporting characters, serving a sole purpose of comic relief in some situations, yet they have heart, can be gentle, and are the arguably iconic characters that tie Smith's assorted View Askewniverse films together. It seemed appropos to end with them getting their "motherf---ing movie check "and going about their pointless, drug dealing, sex-starved lives.

Apparently, K. Smitty had other ideas in mind; he seemingly felt no closure about Dante and Randal, characters introduced in the original Clerks, which is now kind of a classic in its own right. Either that, or the tanking of Jersey Girl and the apparent limits of Kev's imagination (and of his financial security) prompted him to revisit these characters, Jay and Bob in tow, for whatever it was worth in the end. Confoundingly, in the introduction on this film's DVD, Smith says this is his favorite film of the View Askiewniverse. The next question that presents itself is why.

Much has happened since 1994, and it's this lapse of time that really renders the whole movie a stale exercise in growing up, albeit a little late and unconvincingly. What made the original Clerks such a good movie was the fact that these two characters became voices of Generation X from opposite sides of the spectrum. The movie was largely dialogue-driven, shot as it was for a few thousand dollars and during the night shift of Kev's former employer, the QuickStop. While sometimes vulgar, the film actually contained witticisms, pointed nuggets of wisdom, and critiques about being a 20-something in the 90s. Also, who can forget Randal's semi-iconic waxing about how Return of the Jedi is superior to the Empire Strikes Back (he disagrees with Dante by saying "blasphemy") and how he feels sorry for the as-yet unfinished and ultimately destroyed second Death Star workers and officers, who were no doubt there on contract to make a buck and without any true allegiance to the Empire or Rebellion ("innocent bystanders in a galactic war").

Clerks II has none of the originality of the first film, and though it's a sequel, it doesn't adhere to any of the rules (more is better, recycle as much as you can). Dante and Randal, and the actors who portray them, are washed up. Kevin's wife is not a convincing actress. There's not much said about being a 30-something in the new millenium, other than what expectations are versus what reality is. There's one sincerely funny exchange between Randal and a fanboy played in cameo by Alias' Kevin Weisman, who comes to Elias' defense about the Lord of the Rings, much to Randal's chagrin, who believes the only true trilogy is that of the original Star Wars. There's a cringe-worthy exchange on what constitutes a racial slur, a dicey subject, even if endorsed by Wanda Sykes, who also appeared in cameo. Otherwise, it was not funny like other Smith films have been, and that alone was the most disappointing part.

Plus, no information was provided about what happened to certain characters. Presumably, Caitlin Bree is scarred for life after unwittingly having sex with a dead guy in the QuickStop bathroom in the last movie, but no further word? What happened with Veronica?

Also, sadly, sober Jason Mewes or sober Jay, if one can separate the two, is simply not as funny as his drug-addled counterpart. His impression of Buffalo Bill from Silence of the Lambs was not really all that funny as much as creepy. Silent Bob also did not have much to say when he finally did talk, and if this was Kevin Smith's favorite film of his, then he truly sells himself short.

In fact, all in all, this film feels like an exercise in underselling oneself and selling out in a way. These characters should have been left alone. Happy endings abound, but in a completely unsatisfying way; can K. Smitty concentrate on a truly original idea in the future rather than trying to eke more from a well that's clearly run dry? Only time will tell.