What makes Clerks II one of the best movies of the summer? Is it the focus on interspecies erotica? The discussions centering on body parts that aren’t necessarily supposed to be combined? Maybe it’s the mindless debate over which is better—Star Wars or Lord of the Rings—or the pop culture poetry of hearing the Go-Bots referred to as the “K-Mart of Transformers”. Whatever the rationale, writer/director Kevin Smith has done the impossible: he stayed true to his original black and white opus from 1991, while successfully arguing for the value of sequels. It turns what could have been bothersome into pure cinematic bliss.
You don’t have to be a member of the filmmaker’s fanboy View Askew universe to appreciate the many insular intricacies present. Smith has always been known for his clever, cutting scripts, but elements like emotion and context occasionally escape his grasp. With this return to Randall and Dante’s slacker domain, replete with familiar faces (Jay and Silent Bob) and wonderful new additions (Trevor Fehrman’s fantastic Elias, Rosario Dawson’s dynamic Becky) Smith discovers new layers to explore. He acknowledges the passing of time, allowing what seemed like a reasonable lifestyle choice a decade ago to now come across as lazy and aimless. By using throwback musical moments (the Jackson Five’s “ABC”, The Smashing Pumpkins “1979”) to underscore his viewpoint, he even manages to move us.
Some may say that every Kevin Smith movie is the same. Take a few dozen of his obsessions, mix them with a heaping helping of foul language, and stir in some scatological silliness just to spice things up, and there you have it. Unfortunately, such a simplistic description doesn’t even begin to address Clerks II’s many significant joys. Before it gets bumped out of theaters, treat yourself to one of the best collections of dirty diatribes you’ll even overhear. The art of conversation may indeed be dying, but with Kevin Smith around, there’s hope for the verbal life skill yet.
// Notes from the Road
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