Reviews by PvtCaboose91

"You ever hear of Joe Cooper? He's a cop. A detective actually. He's got a little business on the side."

It's been forty years since filmmaker William Friedkin tested the boundaries of what's acceptable in modern cinema with his 1973 horror opus The Exorcist. Friedkin's Killer Joe (finished in 2011 but released last year) finds the director back in this territory, mounting a controversial NC-17-rated thriller which shows that the director still has a talent for the lurid. Killer Joe was written by Tracy Letts, who adapted his own stage play for the screen and who worked with Friedkin on 2006's polarising Bug. Sleazy and engaging, this is more or less a contemporary film noir in the vein of Double Indemnity, yet it's also something of a black comedy, though Friedkin's own descriptor "black hole comedy" is perhaps more apt. Full of vile moments and repulsive characters, the film is a punishing viewing experience from time to time, but it benefits from exemplary technical credits and sublime acting, with Matthew McConaughey front and centre delivering his best performance in years.

Set in the American South, troubled lowlife Chris (Emile Hirsch) owes several thousand dollars to the local loan shark. He turns to his father Ansel (Thomas Haden Church) for help, taking up residence in his trailer with Ansel's second wife Sharla (Gina Gershon) and daughter Dottie (Juno Temple). Chris' mother has a hefty life insurance policy which would be paid to Dottie in the event of her death, hence Chris and Ansel decide to enlist the services of Joe Cooper (McConaughey), a Dallas police detective who moonlights as a contract killer. Although Joe demands the money upfront, he agrees to the job if he's given Dottie as a retainer. While Chris is hugely reluctant, Joe and Dottie commence a sexual relationship. However, not everything is as it seems, and Chris' idiocy begins getting in the way, leading to friction between Joe and his employers.

Bug was likewise based on one of Letts' stage plays, but Friedkin and Letts retained the single setting for that tale of body horror and paranoia. For Killer Joe, however, the collaborators have opened up the play a fair amount, spanning various locations rather than remaining within Ansel's trailer. It does not feel falsely or arbitrarily expanded, though, which is a huge credit to the creative team behind the picture. Fortunately, Letts' script is strong for the most part, full of sharp dialogue and well-realised characters. The film eventually accepts its stage play origins with an extended final scene running over twenty-five minutes that's confined to Ansel's trailer. It's a small-scale finale, but the scene is legendary, cranking tension levels up to eleven and serving up shocks at an alarming rate. The only flaws with Killer Joe are inherent in the script, which incorporates some of the play's weaker moments. One gets the sense that Friedkin and Letts revel in the shocking nature of this stuff too much, leading to an unorthodox use of a chicken leg that's more uncomfortable and degrading than effective. Yes, it's meant to be degrading but it seems like overkill.

Despite being his first big-screen outing in years, Friedkin remains an exceptional filmmaker here, his competency with staging and pacing shining through in every frame. What's surprising about the film is that, although it's often vile and repulsive, it's compulsively watchable and enthralling, which is a credit to Friedkin's skills as a cinematic craftsman. It's not that he waters down the content to make it more accessible; it's just hard to look away due to the tension, plot twists and dialogue. Killer Joe is a stylish picture to boot, with gorgeous cinematography by Caleb Deschanel perfectly capturing this Southern Noir tale. The MPAA slapped the film with an NC-17 rating, a move that Friedkin expected and embraced, though the distributors also cut together an R-rated edit. Beware, Killer Joe contains full-frontal nudity, shocking violence, disturbing themes, and plenty of bad words... It's genuinely fantastic to see Friedkin pushing buttons again.

Friedkin is a director who knows how to coax the best out of his actors, hence Killer Joe is full of top-flight performances, with all the actors at the top of their game. McConaughey too often plays pretty-boy romantic leads, which he's now more or less reviled for. It's refreshing, then, to see the actor sinking his teeth into the ferociously creepy yet funny titular character. Demonstrating acting talent we've forgotten he has, McConaughey is mesmerising here, his calm demeanour and terrific grooming a delightful contrast to the dirty trailer trash he deals with. Drenched in Texas swagger, Joe is a man you would not want to cross, yet he's strangely charismatic and respectful. It's a bravura turn for McConaughey that's brilliantly controlled and creepy. Hirsch is fairly good here, too, but it's Juno Temple who stands out as Dottie. She's such a bizarre and complex character; she's either simple-minded or extremely intelligent. Church also fares well here, while Gershon is astonishingly good as Ansel's new bride.

Even though Friedkin is getting older, he is still drawn to edgy, controversial material, and Killer Joe is a fascinating effort by the veteran filmmaker. It's not a universally appealing motion picture, however; it's nihilistic, crude, intense, shocking and violent, but it's also darkly funny and competently produced. As long as you can stomach this type of material, Killer Joe is well worth checking out.

8.1/10

"EVERYBODY wants to see ANYBODY fuck. I hate Rosie O'Donell, but if somebody said "I got a tape of Rosie O'Donell getting fucked stupid" I'd be like "Why the fuck aren't we watching that right now?""

Zack and Miri Make a Porno is one of Kevin Smith's most purely enjoyable and accessible motion pictures to date, a straight-up crude comedy in the vein of The 40-Year-Old Virgin that manages to supplement its humour with heart and depth. It's an ideal project for Smith, calling for his usual modus operandi of profane mischief, unfussy technical specs and a sizable roster of familiar faces. Written and directed by the filmmaker, the film is also firmly in the Smith's comfort zone. Over the years, Smith has repeatedly declined offers to tackle superhero movies and other projects since he knows his limitations. He often does much the same thing in terms of humour and content with his movies, but at least he's good at this stuff.

Sharing an apartment together, do-nothing barista Zack (Seth Rogen) and his long-time school friend Miri (Elizabeth Banks) are destitute, hopelessly behind on their bills and facing homelessness. After their 10-year high school reunion further highlights their lousy circumstances, and after their water, heating and electricity are all shut off, Zack and Miri agree that drastic measures are in order. Desperate to get out of their financial hole, the pair decide to act upon an off-the-cuff idea to make a porno and reap the monetary benefits. Teaming with friends Delaney (Craig Robinson) and Deacon (Jeff Anderson), as well as eager performers Lester (Jason Mewes), Stacey (Katie Morgan) and Bubbles (Traci Lords), they begin production on their porno odyssey, shooting after hours at the local coffee shop where Zack works. Zack and Miri agree to have their first sexual encounter on-camera, but the filming brings out emotions and feelings that the pair never knew they had.

The ultimate narrative trajectory of Zack and Miri Make a Porno is predictable, but, as with all the best comedies, it's more about the journey than the destination. As proved countless times before, Smith has a talent for witty dialogue and entertaining characters, and this remains unchanged here. Zack and Miri Make a Porno is loaded with side-splitting one-liners, hilarious bantering and film references - the characters initially set out to make a Star Wars porno parody called Star Whores, with character names and costumes destined to provoke belly-laughs. As the characters talk, they constantly name-drop websites, movies, actors and other pop-culture stuff, not to mention there's plenty of profanity. Critics have slammed the movie for its excessive language, but Smith is a poet with profane words, and the swearing comes off as a natural part of the characters' vocabulary rather than a gratuitous addition.

With each new film, Smith continues to grow as a filmmaker. He has come a long way since the drably-filmed, amateurish Clerks. - Zack and Miri Make a Porno is visually accomplished, and it's as competent and well-paced as one could reasonably expect from a simple comedy sans big visual effects. Sensitive viewers should tread lightly, as Smith does not baulk from capturing the type of content one would expect from a movie about shooting a porno. Nudity and sex scenes abound, which led to the MPAA slapping the film with an NC-17 rating (not a new experience for Smith). Indeed, the film is just as aggressive as its title. Speaking of the title, it stirred up much controversy, leading to advertisements and even DVD covers shortening the title to Zack and Miri, much to Smith's chagrin. It seems like a strange move to shorten the title as such, since it may fool viewers into believing the film to just be a simple, sweet romantic comedy. Oh boy, that would be a regrettable error. Besides, is the word "porno" really that bad in a world where the Sex and the City movie can be widely advertised?

Smith's best movies are those which are about something, and tackle some sort of life issue. He's also good at telling personal stories that incorporate the writer-director's own experiences (see Chasing Amy). Zack and Miri Make a Porno continues in this vein. The way that the crew make the porno is very much reminiscent of the way Smith produced 1994's Clerks.: shot in the writer-director's place of work at night and produced on the cheap, using hockey sticks for boom poles and only a tiny crew. Smith also probes a sensitive topic: long-time friends becoming romantically involved. The scene depicting Zack and Miri's on-camera sex is one of the director's finest moments; it begins as a hilarious parody of awkward porn situations, but the actual sex is sweet and romantic, even though the characters are on top of a bag of coffee beans. The dramatic aspects of the story do not feel like obligatory rom-com stuff; Smith actually put some emotion and feeling into it, resulting in something fairly mature. The best thing about Zack and Miri Make a Porno, though, is that it still works as entertainment despite its dramatic material.

In the lead roles, Rogen and Banks are marvellously talented and sharp. Rogen just leaned on his usual shtick here, but he's terrific at what he does, espousing charisma and spouting obscenities with confidence. Smith wrote the role of Zack with Rogen in mind, and has stated he would not have made the film if Rogen wasn't interested. Banks, meanwhile, is hugely endearing and beautiful. Rogen and Banks don't exactly share sizzling chemistry, but they're both believable in their respective roles. The supporting cast is fun and colourful, with Robinson and Smith regular Anderson enormously entertaining as the crew of the movie. Jason Mewes (the Jay to Kevin Smith's Silent Bob) is also present here, putting in a playful performance as uninhibited performer Lester. Likewise, real-life porn star Katie Morgan makes a good impression. Added to this, Justin Long and Brandon Routh show up in cameo roles, and their work is hilariously shameless.

If you're in the right mindset, Zack and Miri Make a Porno is a perfect time-waster, enjoyable and thoughtful. It's perhaps one of Smith's less daring filmmaking endeavours, as it essentially uses the When Harry Met Sally formula...except it involves making a dirty movie. Plus, the film not as mature or insightful as Smith's Chasing Amy. Nevertheless, Zack and Miri Make a Porno is good fun, and it's hard to imagine Smith's fanbase being dissatisfied with it.

7.8/10

"The abused becomes the abuser."

Psych:9 is part of Lionsgate's master plan to release a string of low-budget horror features helmed by inexperienced filmmakers produced under the "Ghost House Underground" banner. I sure as hell hope that the other movies are better than this. There are some redeeming features to Psych:9 if one takes into account that it was the first feature film for both its writer and director, but it's simply flat on the whole. Plus, it would seem that screenwriter Lawrence Robinson and director Andrew Shortell have encyclopaedic knowledge of every horror movie and slasher of the last three decades - there is not a single original bone in Psych:9's cinematic body, and the treatment of the hackneyed material is not engaging or stylistically inventive enough to overcome the "been there, done that" feeling which plagues every frame of the enterprise.

In desperate need of a job, Roslyn (Foster) takes a position working the night shift inside a hospital that recently closed its doors. Working alone as she collates medical records and organises files, it isn't long before Roslyn begins hearing strange noises and seeing peculiar things. On edge due to a series of killings in the local area attributed to a serial killer known as the Nighthawk, Roslyn finds friendship in amiable psychiatrist Dr. Clement (Elwes), who is taking care of the files in the psych ward. Roslyn begins growing suspicious that her husband Cole (Mann) could be the Nighthawk, and her work leads her to suspect that the murders are linked to the hospital. Amid this, Detective Marling (Biehn) is investigating the Nighthawk killings, and he's not ready to rule Roslyn or her husband out as potential suspects.

At face value, Psych:9 is an interesting proposition. It's set in an abandoned hospital, a serial killer is on the loose, there are paranormal undertones, and Michael Fucking Biehn is in the cast. In deft hands, it could've been an intriguing horror outing, but this potential ultimately leads nowhere. It's ostensibly a supernatural chiller, but Psych:9 is a straight-up whodunit slasher with splashes of Shutter Island. While there's nothing inherently wrong with this from a conceptual standpoint, the film seems deliberately ambivalent as to what exactly is going on. A deep, dark and decisive finale could've been extremely effective, but the filmmakers went another route, as if Robinson himself was unsure about how to properly end it. More than likely, most viewers will be left confused about what just happened, and what the final twist actually means. And the "pay more attention" argument is null; the storytelling is just too jarring and editing too off-tempo.

At the very least, the production is not a total bust from a technical perspective. In terms of direction and photography, Psych:9 is okay; not terrible or overly cheap, but not enthralling or polished enough either. It's the very definition of mediocre. The hospital is the most effective thing in the film; it's a suitably creepy, unnerving location, with rotting medical equipment and plenty of dark shadows and dank hallways. The film is bathed in a fluorescent lighting scheme of greens and yellows in an attempt to hide the low budget, giving it an ugly but somewhat atmospheric look.

Similarly, the acting is mediocre-to-good. In the lead role, Sara Foster does a decent enough job, conveying fear and vulnerability well enough. She's an attractive and endearing screen presence, as well, which makes her a suitable horror lead, though unremarkable. The biggest names here are Cary Elwes and Michael Biehn playing Dr. Clement and Detective Marling, respectively. Elwes is watchable in anything he's in, and he's especially amiable here. Biehn, meanwhile, is the best actor here. He wasn't given much to work with, but Biehn makes the most of his role and he seems to be the most committed member of the cast.

In the end, Psych:9 wants to do something more than your standard ghost story, but it's ultimately more trite and less interesting than a straight haunting feature. There's nothing original here, and it doesn't serve up enough effectively spooky moments. It's not exactly horrible, but it is formulaic and hopelessly forgettable. If you're an unfussy horror/thriller fan looking for a simple evening rental on a dark, stormy night, you might extract some enjoyment from Psych:9. Otherwise, there are many other, more skilful horror offerings available.

4.2/10

"Randal Graves. Thirty-two and you're flipping burgers? Jesus, anybody else from our graduating class back there?"

After producing a number of additional movies set in the "View Askewniverse" centring on other characters, it was inevitable that Kevin Smith would one day write and direct a true sequel to the film that started it all. Released 12 years after its 1994 predecessor, Clerks II denotes another home run for Smith; it's a sequel that's just as good as the picture which spawned it. The film also finds the writer-director back in the territory where he belongs after a brief pit-stop with 2004's harshly-received PG-13 drama Jersey Girl. Smith is in fine form here, providing plenty of amusing dialogue, some smutty humour and a bit of heart on the side. Clerks II wears its heart on its sleeve; it's a love letter to both its fans and the beloved slackers at the centre of the Clerks universe.

When a fire destroys the Quick Stop convenience store and takes the video shop with it, Dante (O' Halloran) and Randal (Anderson) take thankless jobs at fast food establishment Mooby's. The pair are now in their mid-30s, and Dante is ready to settle down and start a family with his fiancée Emma (Schwalbach Smith). Dante is on the verge of moving to Florida with Emma, and faces his final shift with Randal, who's every bit as crude, sarcastic and cynical as he's always been. Complicating Dante's life is his boss Becky (Dawson), with whom he has developed a close bond; so close, in fact, that they had a brief liaison behind Emma's back. Meanwhile, the dynamic duo of Jay (Mewes) and Silent Bob (Smith) spend their time outside the fast food restaurant, continuing their daily routine of harassing people and selling drugs.

Through cynical eyes, Clerks II can be perceived as a fundamental remake of its black and white forerunner, right down to a love triangle involving Dante and two women vying for his affection. But while there are similarities, Clerks II is not just a lazy rehash, as Smith does enough fresh and daring things while taking the characters to new places. From a narrative viewpoint, it's the perfect sequel. The way Dante and Randal continue to accept their mediocre lives is an ideal backdrop for Smith's trademark brand of humour, and it's unfailingly entertaining to watch these guys slaving away at low-wage jobs without ever catching a break. Furthermore, Clerks II retains the original film's proclivity for nerdy pop-culture references. Star Wars and The Lord of the Rings are both referenced, while Michael Bay's live-action Transformers movie - which was in pre-production when Clerks II was shot - is brought up. The stream of witty dialogue is never-ending, making for highly entertaining viewing. Smith even crams in cameos by such recognisable stars as Jason Lee (on his day off from filming My Name is Earl) and Ben Affleck.

Despite how hilarious the original Clerks. is, it's not just a collection of profane comedic dialogue; it additionally provides shrewd observations on life as a retail worker. Fortunately, Clerks II is also about something. Beneath all of the gross-out humour, pop-culture references and expletives, the film is a solid thesis on the collateral damage of growing up. The concept is clichéd, to be sure, but Smith handles the material with more sensitivity, skill and honesty than most comedies, and this stuff doesn't just come off as an obligatory rom-com distraction. The crux of this is revealed after the gang are put behind bars, when Dante and Randal hash out their feelings for one another. It's a surprisingly good scene, both poignant and funny, which gives these characters a solid sense of dimension. And the payoff is outstanding. Trash Smith for his outspoken nature if you will, but the man is one hell of a writer.

Clerks. was shot on a paltry $27,000 which came out of Smith's own pocket, resulting in a grainy, rough-looking picture that left a lot to be desired from a technical perspective. Clerks II corrects all of this, with Smith working on a more generous budget to produce a smoother, more attractive and generally more accessible movie. The fact that the film looks more polished reflects the growth of both the characters and Smith as a filmmaker. Smith's direction is still fairly workmanlike, but the real appeal of the film is the dialogue and character interaction, which more than carries the movie through to the finish line.

Brian O'Halloran and Jeff Anderson seamlessly slid back into the roles of Dante and Randal here as if no time had passed. On several occasions, the pair exchange dialogue with the precision of professional tennis players. In the interim between Clerks. and Clerks II, Smith brought these characters into comic book, cartoon and action figure realms, but it's clear that these boys belong in live-action movies spouting Smith's sublimely witty dialogue. Jason Mewes and Kevin Smith also return here to play Jay and Silent Bob. It's clear that Smith carefully planned their screen-time, as the duo's every appearance is hysterical. If the sight of Jay re-enacting Buffalo Bill's dance from The Silence of the Lambs doesn't provoke tears of laughter, there's a good chance you have lockjaw. The highlight, though, is Silent Bob finally opening his mouth towards the end. Another fitting addition to the cast is Rosario Dawson. Her character of Becky is every bit Randal's equal, and their verbal sparring matches are uproarious.

Although Clerks II lacks the spark of freshness which characterised the first film, it's an utter treat, and it stands as one of few sequels that both perfectly complements and is respectful towards its predecessor. As long as you have a tolerance for shocking humour (a sequence involving a donkey pushes the boundaries of bad taste, and Randal rattles off a lot of racist slurs), Clerks II is a great comedy and a satisfying addition to the Kevin Smith canon.

7.7/10

"I will never find a Hitchcock blonde as beautiful as you."

Any cinema lover worth their salt has watched Alfred Hitchcock's Psycho more than once, but it is doubtful that many are actually aware of the story behind its creation. Based on Stephen Rebello's non-fiction book Alfred Hitchcock and the Making of Psycho, director Sacha Gervasi's Hitchcock is an engrossing biopic that delves into the Master of Suspense's professional and personal life with colourful zest. Although it contains a few re-enactments of on-set activities, Gervasi's adaptation predominantly focuses on Hitchcock's relationships with the people around him. It's not quite the masterpiece it had the potential to be, but Hitchcock is an acutely enjoyable film and a treat for anyone who loves movies.

Riding high on the smashing success of 1959's North by Northwest, Alfred Hitchcock (Anthony Hopkins) is at a loss about what project to pursue next. While the studios are clambering for more of the same, Hitch is disillusioned by the critics who believe he is creatively declining and is too old to be at the top of his game. Seeking to make a picture that breaks modern convention, Hitch picks up a copy of Robert Bloch's novel Psycho, which took its inspiration from the murders committed by madman Ed Gein (Michael Wincott). Paramount executives, however, refuse to fund the picture due to its disturbing content. Accordingly, Hitchcock makes the bold decision to mortgage his house and finance the movie himself. Working with a talented team including writer Joseph Stefano (Ralph Macchio) as well as stars Janet Leigh (Scarlett Johansson), Anthony Perkins (James D'Arcy) and Vera Miles (Jessica Biel), Hitch faces immense pressures as he struggles to shoot the audacious thriller. Complicating the situation is his wife and collaborative partner, Alma Reville (Helen Mirren), who begins showing interest in collaborating with writer Whitfield Cook (Danny Huston).

While Hitchcock deals with all production stages throughout the making of Psycho, it's more focused on the relationship between Alfred and Alma. Screenwriter John J. McLaughlin (Black Swan) takes tremendous creative liberties in his depiction of the pair, introducing an infidelity subplot that heightens the dramatics of the picture and reinforces the importance of Hitch's primary creative consultant, who was instrumental in his success. It's a trite subplot, but it makes the triumph of Psycho's success feel more earned. Likewise, McLaughlin uses dream sequences and fantasies in which Hitch converses with Ed Gein, which do not entirely work but are nevertheless an interesting touch. However, those hoping to see more action on the set of Psycho will likely be disappointed, as Hitchcock focuses more on the man's life rather than the production. This idea is not inherently bad, but more production detail would have improved the overall experience since Gervasi skims over a lot of the filming. For example, the shooting of the shower scene feels underdone, and we never see filming take place on the iconic exterior of the Bates Motel/House set.

Despite its script shortcomings, Hitchcock is a quality motion picture from top to bottom. Gorgeously shot by Jeff Cronenweth (The Social Network) and ideally scored by Danny Elfman (Men in Black 3), Gervasi and his crew clearly put every dollar of the budget to great use. Additionally, the film bursts with period detail, showcasing lovely costumes, spot-on make-up (which earned an Oscar nomination), and gorgeous production design. Most people would expect a film like Hitchcock to be self-serious Oscar bait, but it's more in the vein of Tim Burton's Ed Wood, as it's fun and accessible. It's purely joyous to watch Mr. Hitchcock waiting outside a cinema showing Psycho, his anxiousness about the audience's reaction turning to giddy elation when the shower scene elicits endless screams that carry into the lobby. The film is also full of fun historical anecdotes: Hitch indeed purchased every copy of Psycho nationwide to prevent the movie-going public from finding out the ending, and the filmmaker initially refused to add music to the infamous shower scene. Plus, watching Hitch meet with the censorship board to convince them to approve the shower scene is supremely enjoyable.

Anthony Hopkins is an expectedly delightful Alfred Hitchcock. Under the extensive make-up and fat suit, Hopkins embodies the filmmaker and adopts his mannerisms to fantastic effect, delivering a rich performance that amounts to more than mere imitation. Hopkins makes Hitch feel like a real person with lovable characteristics and a vulnerable side, and it's a massive shame that he failed to earn an Oscar nomination. Alongside him, Helen Mirren is every bit as brilliant as one would expect from the veteran actress. She walks away with the movie, portraying Alma as commanding, sassy, and vivacious. She also imbues the role with humanity, making her wholly credible. Watching acting heavyweights Hopkins and Mirren as a screen couple is a unique treat - they are dynamite together. Admittedly, the actors do not look much like their real-life counterparts, but their performances are so well-rounded, consistent and focused that it's easy to buy them as Alfred and Alma. Luckily, an enormously talented supporting cast surrounds the pair. Scarlett Johansson and Jessica Biel shine as starlets Janet Leigh and Vera Miles, and both ladies look fantastic in vintage clothes. Meanwhile, James D'Arcy perfectly embodies Anthony Perkins's twitchy discomfort, making him an ideal choice to play the actor. Likewise, the reliably charismatic Michael Stuhlbarg makes a positive impression as Hitch's agent, while Michael Wincott is a suitably sinister Ed Gein, and Kurtwood Smith has a few amusing moments as the head of the censorship board.

Hitchcock is a delightful exploration of the titular man, his creative wife, and their risky gamble to scare the movie-going public with Psycho. Things particularly take off once the film's release comes into view, and we smile in giddy delight alongside Hitchcock when Psycho develops into a smashing success. This biopic is not as remarkable as Hitch's best achievements, but it is enormously fascinating and entertaining. Plus, Gervasi tempers the film's serious moments with well-judged comic relief, and it's book-ended with Hitchcock speaking to the camera in the vein of TV's Alfred Hitchcock Presents. This buoyant, mischievous tone mixed with the strong storytelling, lush period recreations and magnificent performances make Hitchcock such a delight from start to finish.

8.2/10

"That's what the internet is for. Slandering others anonymously. Stopping the flick isn't gonna stop that."

Although it's the weakest picture in Kevin Smith's View Askewniverse, Jay and Silent Bob Strike Back is inspired lunacy, essentially a 100-minute party for fans of Smith and his cinematic world. It is also the ultimate measure of Smith's incredible geekiness, as it's bursting with homages to everything that the writer-director holds dear: character clichés, genre types, and pretty much every motion picture that Smith has ever seen. Added to this, Smith introduces a large amount of knowing satire, taking shots at two main targets: the internet with its various bloggers and armchair critics (methinks Smith is an IMDb regular), and Hollywood with its moronic sequels and personal and professional friendships. Jay and Silent Bob Strike Back lacks the thematic meaning and emotional undercurrents of Smith's best movies, but it remains goofy, random, often hilarious and infectiously enjoyable.

Booted from their usual hangout spot outside the Quick Stop Convenience Store, Jay (Mewes) and Silent Bob (Smith) learn that a film is being made based on their comic book alter-egos, Bluntman and Chronic. Filming has not yet started, but negative word of mouth is spreading around the web, with internet users threatening to taint the image of Jay and Silent Bob forever. Determined to stop the film from coming to fruition with mere days left until filming begins, the intrepid pair hit the road, looking to travel to Los Angeles to crash the set. On the road, they meet four sexy jewel thieves, one of whom takes a liking to Jay and vica versa.

Plot is usually a secondary concern in Smith's movies, and this is hugely evident in Jay and Silent Bob Strike Back, as the storyline is especially thin this time around. The set-up simply involves the titular duo making their way to Hollywood, leading to a series of disconnected vignettes featuring random guest stars. There's nothing inherently wrong with this per se, but the subplot involving the jewel thieves grows pretty dull. Plus, while Jay and Silent Bob Strike Back is funny, it's not really about anything, as it lacks the depth and honesty provided by Clerks. and Chasing Amy. You'll laugh, but you won't get any grand insights or emotion.

Though he has improved a hundredfold since the original Clerks., Smith remains an average director, and his mise-en-scène is pedestrian at best. With that said, though, this is the most visually accomplished Smith movie, and it does look solid. Jay and Silent Bob Strike Back is at its best when poking fun at the movie industry and the shallow culture surrounding Tinseltown. Smith has enough distance from Hollywood to take some sharp jabs, and he has every reason to do so. After all, Smith has run into many problems with the studio system, from MPAA disputes (Clerks. was unjustly given an NC-17 rating at first) to troubles with distributors who grew too nervous about the controversy surrounding Dogma. Jay and Silent Bob Strike Back especially takes off during the trip to Miramax when the titular pair walk onto the sets for both Good Will Hunting 2: Hunting Season and a new Scream film. The range of cameos is fucking miraculous, too, with Smith clearly calling in every favour humanly possible. All of this madness culminates with one hell of a climax involving some hilariously-staged action.

In their proverbial roles of Jay and Silent Bob, Jason Mewes and Smith are their usual selves; Mewes regurgitates an endless stream of expletives and is as disrespectful as ever, while Smith conveys a lot through mere facial expressions, only talking when he has something of intelligence and substance to say. Mewes and Smith are quite the comedic duo, and they play off each other extremely well. The supporting cast of the picture, meanwhile, is massive. As the female jewel thieves, Shannon Elizabeth, Eliza Dushku, Ali Larter and Jennifer Schwalbach (Smith's wife) are extremely attractive, serving as the film's eye candy. The best actors in the film, though, are Will Ferrell as the extremely dumb wildlife marshal, and an unhinged Chris Rock who plays the director of Bluntman and Chronic. There are a range of celeb cameos as well; playing exaggerated versions of themselves, Jason Biggs, James Van Der Beek, Ben Affleck, Matt Damon, Wes Craven and Gus Van Sant all show that they're good sports. Many others appear, all of whom do a great job.

Anyone unfamiliar with the titular characters, or the View Askewniverse as a whole, should avoid Jay and Silent Bob Strike Back, as it's a film clearly designed for fans of Smith's past works. And for Smith fans, the film is a lot of fun. Still, it's not quite perfect; in its best moments it's a hoot, but in its worst, it's a hit-and-miss, middle-of-the-road affair. During the press tours for Jay and Silent Bob Strike Back, Kevin Smith made it clear that it was to be the end of the View Askewniverse pictures and the last appearance of Jay and Silent Bob. But 5 years later, Smith delivered Clerks II, which is fortunate since these characters are too rich to ever be permanently put to bed. Smith may fear he will get typecast for these types of movies, but he's good at them.

6.6/10

"We're losing Los Angeles to an Eastern crook..."

Do not watch 2013's Gangster Squad expecting a meaningful period drama like L.A. Confidential or The Godfather. Instead, this is a hard-hitting, badass gangster action picture with shades of Brian De Palma's The Untouchables. No pretensions exist here; director Ruben Fleischer and screenwriter Will Beall simply set out to create a slick, entertaining big-screen cartoon, and they pull it off with utmost assurance. Gangster Squad also does a great job of paying tribute to the film noirs of yesteryear, with hard-boiled dialogue and characters ripped straight from decades-old gangster films.

In 1949, Mickey Cohen (Sean Penn) is a rising force in the criminal underworld, looking to take control of Los Angeles and kill anyone in his way. Fed up with legal attempts to bring Cohen to justice, L.A.P.D. Chief Parker (Nick Nolte) enlists the aid of a decorated war veteran and upstanding cop named John O'Mara (Josh Brolin). John's assignment is to assemble a covert squad of police officers and wage guerrilla warfare against Cohen to drive him out of town. Recruiting Jerry Wooters (Ryan Gosling), Conway Keeler (Giovanni Ribisi), Max Kennard (Robert Patrick), Rocky Washington (Anthony Mackie) and Navidad Ramirez (Michael Peña), the clandestine "gangster squad" begin attacking Cohen's operations at every turn, halting his flow of drugs, prostitutes and gambling. And because Cohen has half of the L.A. police department in his pocket, Parker permits John to act outside the law - no badges, no warrants and no arrests. However, Jerry strikes up a relationship with Cohen's top girl, Grace (Emma Stone), which complicates the situation, while John's pregnant wife (Mireille Enos) worries about what might happen to her obstinate husband in his mission to bring Cohen down.

Initially slated for a late 2012 release, Gangster Squad was postponed by panicked Warner Bros. executives following the notorious Dark Knight Rises massacre because the film's climax featured a mass shooting in a cinema. Fearing bad public response, the filmmakers were pulled back in to revamp the final third, rewriting the script and conducting reshoots. With this in mind, it is surprising to report how cohesive the finished movie truly is - the reshoot seams are not visible even if you look for them. What is problematic, though, is that fragments of the story seem to have been removed in the cutting room. In particular, Jerry and Grace's relationship feels underdone; they suddenly advance from dalliances to lovers who are ostensibly living together even though they're afraid of having a palpable relationship in case Mickey finds out. Added to this, the titular squad needs more dimension. John and Jerry get the most screen time while the rest of the guys are relegated to the background. The squad's interactions are pure dynamite, and it's terrific fun to watch them engage in shootouts, but there's not enough of either element. As a result, some of the characters feel like wasted opportunities.

Fleischer was also responsible for the unbridled delight that was 2009's Zombieland, and he thankfully brings his competent touch to Gangster Squad. Despite being narratively underdone, the storytelling is surprisingly strong, with Fleischer displaying a firm grasp on pacing. The action set pieces are where the movie truly takes off, though - the shootouts are well-staged, coherent and completely awesome. Gangster Squad also wears its R rating on its sleeve. It is not ultraviolent like a Paul Verhoeven picture, but it does not feel as if any punches are being pulled - when people are shot, bullet hits and blood splashes are visible. It's fantastically fun. Amid the violence and bloodshed, Fleischer also finds time for dark humour, which lightens the atmosphere and makes the production more enjoyable. This is a handsomely mounted flick, too, since it carries a slick, stylised look and the production values are superb, with detailed costumes and sets believably depicting the time and place.

One of the most notable attributes of Gangster Squad is the cast. Leading the pack is Josh Brolin, who ably fulfils protagonist responsibilities with badass confidence. Ryan Gosling, meanwhile, continues to show he's not just the pretty boy from The Notebook. He's a charismatic presence here, and he kicks ass with a firearm. As Mickey Cohen, Sean Penn is more or less an over-the-top Batman villain, but he's enjoyable in the role. Emma Stone plays the token female here, and she does a solid job. Stone is extremely beautiful on-screen, and she looks credible in period garb. Out of the squad members, the most notable is former T-1000 Robert Patrick playing an old-fashioned hard-ass with a fast trigger finger who emanates badassery from every goddamn pore in his body. It is a shame that Patrick is underused, but he has his moments to shine, and said moments are awesome. Nick Nolte also appears as Chief Parker, while Giovanni Ribisi is amiable playing the squad's techie. Rounding out the main players are Michael Peña and Anthony Mackie, who literally just play the token Latina and the token black guy, respectively. More dimension would have been appreciated, but the actors do a decent job with the material.

It is impossible to overstate how badass Gangster Squad really is. It may be a historically inaccurate fantasy that stuffy critics and history buffs will hate, and it would've been nice if the film was on the same level as The Untouchables, which managed to balance excitement with character development, but Gangster Squad is a fine piece of macho, adult action entertainment.

7.9/10

"Noah was a drunk. Look what he accomplished. And no one's even asking you to build an ark. All you have to do is go to New Jersey, and visit a small church on a very important day."

Following in the shadow of Clerks., Mallrats and Chasing Amy, 1999's Dogma denotes filmmaker Kevin Smith's most ambitious motion picture to date. After dabbling in down-to-earth comedy and a sensitive, mature love story, Dogma is more or less Smith's Life of Brian; a sarcastic, humorous exploration of the realm of religion, personal beliefs, Roman Catholicism and God. However, it doesn't really attack religion; it instead provides a fascinating treatise on the topic, supplemented with foul-mouthed dialogue and dick jokes. The resultant motion picture is intelligent, thoughtful, bold and irresistibly entertaining; one of the finest movies on Smith's filmography.

Angels Loki (Damon) and Bartleby (Affleck) were banished from heaven hundreds of years ago, but the pair plan to get back in by exploiting a loophole they have discovered in Catholic dogma. If they successfully gain entrance back into heaven, however, it would prove God to be fallible, and thus end all of existence. To stop them, an angel named Metatron (Rickman) enlists the help of abortion clinic worker Bethany (Fiorentino), who may be a direct descendent of Christ. Travelling to New Jersey to thwart the plans of the renegade angels, Bethany is accompanied by Rufus (Rock), Christ's forgotten 13th Apostle; a muse-turned stripped named Serendipity (Hayek); and the irresponsible duo of Jay (Mewes) and Silent Bob (Smith).

Running at a hair over two hours, Dogma is the longest View Askewniverse flick to date, but it has no trouble maintaining interest. The flick is exceedingly fun, another trademark collection of witty dialogue and entertaining characters. Ever the geek, Smith also worked a lot of film references into his script, as to be expected. Among the targets are Star Wars (no surprise), Indiana Jones and the Last Crusade, Alien, A Clockwork Orange and E.T., and the characters deconstruct pretty much every John Hughes movie to date. It's funny stuff, and it gives Smith's geeky fans more material and in-jokes to absorb. Admittedly, though, Dogma does grow a tad convoluted as it reaches its climax, digging into religious babble without sufficient explication.

Since this is a religious-themed comedy, Dogma provoked a lot of controversy in the lead-up to its release, to the extent that the distributors got cold feet. Hence, Smith opens the picture with a side-splitting disclaimer defending both himself and the movie, basically stating that nobody should be offended since this is just a movie not to be taken seriously. Smith's words are roll-on-the-ground hilarious, in the vein of the opening credits sequence from Monty Python and the Holy Grail. More than this, Smith seems to be selling himself short, as Dogma is more thoughtful than he apparently wants to let on. Smith imbued his script with theological ideas, questioning Jesus Christ's ethnicity (Rufus maintains that he was a black man) and opening up a can of worms regarding God's gender (the angels bounce between using He and She, and God is ultimately played by Alanis Morissette). Furthermore, Dogma explores the function of angels and the role of church in modern times. It's nothing too deep, but it makes for serious food for thought. Consequently, you'll laugh and have a ball with the film, but you will also be left thinking when the end credits expire.

Smith was working on a $10 million budget here, the biggest budget the filmmaker had ever been given at the time. It's appropriate, as Dogma is large in scale and required proper funds to give life to Smith's vision of unhinged religious insanity. As a result, the movie is permeated with a great deal of comedic energy, though Smith's direction remains workmanlike and somewhat uninspired. Dogma could've been better if Smith delegated directorial duties to a more accomplished visual craftsman, but this is nit-picking since the film is fun enough as it is. Plus, the production design is awesome, with creative-looking angels and a side-splitting statue of Christ that fast turned into an internet meme.

The cast is fucking legendary, one of the biggest masterstrokes of Smith's filmmaking career. It's a massive cast packed with recognisable actors, amplifying the entertainment value a hundredfold. Chris Rock is particularly hilarious here, playing the 13th Apostle who was close friends with Christ but was written out of the bible by prejudiced white people. Rock is a gifted comedian, and he was born to deliver Smith's side-splitting dialogue. Real-life best friends Ben Affleck and Matt Damon are equally fun as the renegade angels, with Affleck much less irritating than he usually is. Meanwhile, Jason Mewes and Smith are funny and energetic as their proverbial characters of Jay and Silent Bob. As protagonist Bethany, Linda Fiorentino is watchable if unremarkable, while Alan Rickman hams it up and chews the scenery playing an angel. Also present here is Smith regular Jason Lee, who disregards his other characters in the Smith cinematic universe to play a demon. Rounding out the main players is the indescribably sexy Salma Hayek, whose introductory stripper dance is the best thing ever glimpsed in a Kevin Smith movie. Even comedian George Carlin shows up here playing a Cardinal, a concept that's offensive by itself to the devoutly religious. Carlin is a very funny man, so his presence and delivery is very much appreciated.

Ho-hum filmmaking style aside, Dogma is a whole lot of good-natured fun. It's definitely one of Smith's finest outings as a writer, with movie references, classy jabs against religion, and enough character and situational comedy to keep anyone entertained. The fervently religious will probably react too sensitively to the flick, but anyone with an open mind and a sense of humour will have a ball with this one.

8.1/10

"If you go looking for Deveraux, he'll find you first."

Universal Soldier: Day of Reckoning is a different film from what many viewers are anticipating. Although it features franchise mainstays, Jean-Claude Van Damme and Dolph Lundgren, it is a unique beast altogether, defying expectations to take the Universal Soldier series in unexpected and refreshing directions. Helmed by Universal Soldier: Regeneration director John Hyams, Day of Reckoning is wholly removed from the tone and intent of the original Universal Soldier, replacing light-hearted summertime escapism with Heart of Darkness-style madness carrying a sinister tone. Isn't it astonishing that Hyams managed to resurrect the once-tattered Universal Soldier franchise with panache after two made-for-television movies and a terrible theatrical sequel in the 1990s?

During a home invasion, family man John (Scott Adkins) is brutally beaten and forced to watch the execution of his wife and daughter at the hands of rogue UniSol, Luc Deveraux (Jean-Claude Van Damme). Awaking from a coma with limited memory after nine months, John sets out to put his life back together and perhaps track down and kill Luc. Teaming with a sympathetic stripper (Mariah Bonner) who knew him before the attack, John begins working through the clues as he is constantly pursued by hostiles, eventually stumbling upon a dark revelation that changes everything.

Something larger is at play at the centre of Day of Reckoning, but it takes more than an hour for the big picture to start coming into focus. If you stick with it for long enough, the story is ingenious. Critics trashed previous Universal Soldier movies for their formulaic and predictable story construction, but such complaints are irrelevant for Day of Reckoning, as the team of writers (Doug Magnuson, Jon Greenhalgh, Moshe Diamant and director Hyams) actually pay attention to developing an intricate plot. The long-winded build-up does deserve some criticism, though, and the movie does keep us in the dark for too long. The film runs too long at 115 minutes and will undoubtedly lose audiences without the patience to stick around and find out what is really happening.

Day of Reckoning sees Hyams returning to the director's chair after helming 2009's unexpectedly good Universal Soldier: Regeneration. Whereas the previous picture was a gritty actioner concerned with large-scale action, Day of Reckoning is a sinister thriller with nightmarish visions and clones. Hyams and his crew never let the restricted $8 million budget show through, lensing the movie in pristine 3D and convincingly executing numerous impressive action sequences. Most laudable are the climactic fights spotlighting an unhinged John, who goes on a vicious, violent rampage. Instead of relying on quick-cutting, Hyams and cinematographer Yaron Levy capture the sublime fight choreography with steady wide angles, and there are a handful of gorgeous extended tracking shots. Of particular note is the extended POV shot at the film's beginning that lets us see everything from John's perspective as he is attacked before Luc shoots his wife and daughter. Despite being a strange fit for 3D, the extra-dimensional effects are well executed here, as expected from a feature shot natively in the format. There is a strong sense of depth here, and the format enhances the immediacy during several scenes. Viewing Day of Reckoning in 3D is not essential, but the experience is magnificent.

Sensitive viewers should tread lightly, as Day of Reckoning is an astonishingly violent feature. The frequent fisticuffs bring about extremely bloody consequences, and limbs are both hacked off and blown apart. Hyams and his team embrace an old-fashioned approach, relying on gory makeup, prosthetics and squibs rather than digital bloodshed. And for good measure, the film also serves up some nudity in its first thirty minutes. Believe me, this is an extremely graphic, vicious and, at times, sadistic flick that confidently earns its R rating. Hyams' only misfire from a technical perspective is the use of strobe lighting, which is irritating and may be harmful to those prone to epilepsy.

Although Van Damme and Lundgren show up on the cover, Day of Reckoning makes limited use of the two muscular behemoths. The pair only pop in for a few scenes, receiving glorified cameos rather than central roles and never facing off against one another. It is a shame that their screen time is limited, especially since the performers are terrific: Lundgren hams it up beautifully, while Van Damme goes the Colonel Kurtz route, delivering his most nuanced performance in years. The protagonist here is rising star Scott Adkins, showing again why he's such an underrated performer. Star of the outstanding Undisputed sequels, Adkins is a charismatic and muscular presence with genuine acting chops, but he can also kick ass with the best of them.

Action movie enthusiasts will find Universal Soldier: Day of Reckoning an utter godsend, and it stands alongside The Raid as one of 2012's finest action offerings. Gloriously violent and often exciting, it is a competent showcase for the martial arts skills of its main stars. It's a different kind of Universal Soldier picture, and it's admirable that the filmmakers had the audacity to try something out of the box.

7.2/10

"All every woman really wants, be it mother, senator, nun, is some serious deep-dickin'."

Though it contains the standard witty dialogue and laughs aplenty that we've come to expect from the man behind Clerks. and Mallrats, 1997's Chasing Amy is a different kind of Kevin Smith film. The writer-director baulked from recycling his Clerks. formula yet again, instead concentrating his efforts on creating an unconventional love story handled in a mature, sensitive fashion, denoting a terrific change of pace for the filmmaker. Since Mallrats underperformed on a $6 million budget and wasn't well received by critics, Smith returned to his low-budget indie roots here, producing the film for a tiny $250,000 sum. The independent sensibility is precisely why Chasing Amy is so terrific; it examines contemporary romance with a stark, honest edge that few films have the balls to do. Life is presented as it is, without any sugar-coating.

Best friends Holden McNeil (Affleck) and Banky Edwards (Lee) are comic book artists who work together to create the popular "Bluntman and Chronic" comic. At a convention, Holden meets fellow artist Alyssa Jones (Adams), with whom he becomes instantly smitten. Unbeknownst to Holden at first, Alyssa is in fact a devout lesbian with a girlfriend. Despite his disappointment and frustration regarding Alyssa's sexual orientation, Holden becomes close friends with her, and soon finds himself falling deeply in love. Holden sets out to win Alyssa over, in the process creating distance between himself and Banky that threatens to tear the two apart.

Chasing Amy is, yes, a constituent of Smith's View Askewniverse; a cinematic world that connects Smith's various films through recurring characters, themes and blatant references. Thus, trademark View Askewniverse regulars Jay (Mewes) and Silent Bob (Smith) appear here (the Bluntman and Chronic characters are based on them), and characters discuss memorable events from both Clerks. and Mallrats. Nevertheless, Chasing Amy is far more dramatic than its predecessors in spite of the laughs and jokes. This was a personal tale for Smith, who based the story on his experiences with his then-girlfriend Joey Lauren Adams, who plays Alyssa. Much like Alyssa, Adams was an adventuresome girl, and had done and seen a lot of things that Smith apparently struggled to deal with. This heightens the film's innate sense of realism, making this one of Smith's greatest writing endeavours to date.

Despite the Smith connection, Chasing Amy's closest cinematic relative is 1989's When Harry Met Sally, which similarly examines contemporary romance in a frank, biting manner while also being mightily hilarious. Chasing Amy benefits from Smith's top-flight scripting; the deconstruction of male dysfunction is spot-on and insightful, and the characters have plenty of frank conversations. Indeed, this picture contains some of the sharpest and most candid dialogue to ever emerge from the crude mind of the writer-director. The script is loaded with evidence of Smith's tremendous nerdiness too, as to be expected. A hilarious Star Wars discussion breaks out not long into the film and there's a brilliant Jaws parody, not to mention there are sly references to the likes of The Untouchables, The Breakfast Club and Outbreak. Owing to the low budget, Chasing Amy is not exactly attractive or bright, but the acting carries the picture and the music is excellent. Smith has a wonderful ear for songs, and David Pirner's original music is effective and memorable.

Without a doubt, the cast from top to bottom is flawless. Leading the cast is Ben Affleck, a veteran of Smith's cinematic universe who had a supporting role in Mallrats. Affleck is an amiable star, and his performance as Holden is charming and believable, not to mention he fulfils the dramatic requirements of his role with utmost confidence. Meanwhile, Adams - who was also in Mallrats - excels as Alyssa, and the fact that she's essentially playing herself makes her all the more credible. Adams had to shoulder a lot of emotional baggage, and she handled it beautifully. As good as Affleck and Adams are, though, the most outstanding performer here is Jason Lee. Another actor from Mallrats, Lee is a born comedian, and he's able to effortlessly digest every word of Smith's dialogue and spit it out with authority and abandon. He's simply a lightning rod, and his jokes are uproarious. Of course, Chasing Amy has its fair share of cameos: Jason Mewes and Smith are predictably funny as Jay and Silent Bob, and Matt Damon and Clerks. star Brian O'Halloran show up for a one-scene appearance. The list goes on. Suffice it to say, everyone hits their mark.

Yes, Chasing Amy looks like the low-rent production that it is, and, yeah, not every gag is a home run. Nevertheless, this is Smith's masterpiece; a side-splitting comedy, an indie classic and a powerful character drama. It's a film that matters because it's about something, and does not shy away from exploring issues that most filmmakers would baulk at. Although its fashions are now dated, Smith's script is imbued with truths that remain as relevant and familiar today as they were in 1997. Everyone will see a hint of themselves in the characters, and perhaps recognise a mistake that they might have made.

8.2/10