“I got to go back and correct that stuff … how ‘Chasing Amy’ would’ve been so much better if it was made by anybody but a cis, white male,” director says
“Jay and Silent Bob Reboot” isn’t just a sequel to “Jay and Silent Bob Strike Back.” Kevin Smith’s latest reference- and callback-heavy movie satirizing Hollywood and his entire filmography also provides a touching new ending to another one of his classics: 1997’s “Chasing Amy.”
“Chasing Amy” is just one movie Smith was able to “sequelize” with “Jay and Silent Bob Reboot,” along with “Clerks 2,” “Mallrats” and “Dogma,” all parts of Smith’s “Askewniverse” in which both title characters Jay (Jason Mewes) and Silent Bob (Smith) appear.
Some critics have argued “Chasing Amy’s” story of a straight man (Ben Affleck’s Holden) romantically pursuing a lesbian woman (Joey Lauren Adams’ Amy) has not aged well in the 22 years since its release. So bringing back both actors for a “where are they now” scene in “Reboot” allowed Smith to correct the record on that narrative.
“Suddenly ‘Chasing Amy’ is completely f—ing reframed through that one 30 second clip in this movie,” Smith told TheWrap in an interview. “‘Chasing Amy’ has become a bit more problematic for some audiences in the current climate. So I got to go back and correct that stuff as well … how ‘Chasing Amy’ would’ve been so much better if it was made by anybody but a cis, white male. Things we couldn’t say in 1997 because we didn’t know they existed, but things that I get from 22 years of perspective and hearing people talk about the movie, good and bad, for two f—ing decades.”
Smith said that for years he used to hold up “Chasing Amy” as his “shield” or “umbrella,” a more serious turn for the comedy director that he or any critics could fall back on no matter what movies he made in his career. But through years of meeting with fans who have matured along with the movie, he’s gained a new perspective on how he might tell that story today.
In addition to the Affleck and Adams cameos, Smith recruits the help of his real-life sister, who showed up in the final scene of the original movie. Without giving away any specifics, all three help provide a romantic bit of closure to where these characters would be 20 years after the events of the original.
That should come as good news to John Oliver in particular, who recently called out the film in a segment on “Last Week Tonight.”
“Set aside the notion that any lesbian could be magically turned straight if the right guy comes along. What’s extra offensive in hindsight is the idea that guy would be Ben Affleck,” Oliver joked.
Smith thought this was something of a “low blow” by Oliver and defends that “Chasing Amy” even includes a character addressing the very notion that a lesbian could be magically made straight. But Smith loved the shout-out anyway.
“I’m a big fan of the show, and as I was sitting there watching, I was like, ‘Holy s-! My picture’s on the screen,” Smith said. “My wife was like, it wasn’t a flattering reference. I don’t give a s—! It’s John Oliver! Relevancy man!”
Watch a clip of TheWrap’s interview with Smith above. “Jay and Silent Bob Reboot” opens in theaters via Fathom Events on Oct. 15 and 17. Smith and Mewes will also tour with the film across 62 cities following its initial release.
All 12 Kevin Smith Movies Ranked From Worst to Best (Photos)
Kevin Smith has carved out a distinctive niche for himself over the past two decades. With “Yoga Hosers” out now, here’s a chance to remind yourself of his entire filmography so far — and which of his works are most worth revisiting.
12. “Tusk” (2014)
In recent years, Kevin Smith has said his movies “aren’t for critics,” which feels especially true of “Tusk” — not because it’s a misfire (though it is) but because it’s so clearly a half-baked “wouldn’t it be cool if…” idea that actually got produced. “Human Centipede”-style gross-outs and an abundance of low-effort Canada jokes don’t pair as well as Jay and Silent Bob.
11. “Red State” (2011)
Smith’s move to regional genre fare began with this apocalyptic comedy, a vision of the end of the world that’s more whimper than bang. Alienating distributors at Sundance was one thing, but more damning was the tepid response with which “Red State” was met by audiences. There is one classic Smith moment, though, as an off-screen voice (Smith himself) demands that Michael Parks’ end-times preacher “shut the f— up” just before the credits roll.
10. “Jersey Girl” (2004)
The first Kevin Smith movie set outside the fictional View Askew-niverse, “Jersey Girl” is also the first that doesn’t actually feel like a Kevin Smith movie. That’s not a coincidence, but the film’s problems extend beyond the absence of Jay and Silent Bob — this entry in the “irresponsible dude learns to grow up thanks to his daughter” genre is simply a forgettable rom-com that had the further misfortune of coming during Ben Affleck’s “Gigli” era.
9. “Cop Out” (2010)
The filmmaker’s director-for-hire gig isn’t actively bad so much as unremarkable, with Tracy Morgan and Bruce Willis as mismatched partners straight out of countless other buddy-cop comedies. Though Willis frequently looks bored (he and Smith didn’t get along), Morgan and Seann William Scott provide their fair share of laughs, especially during a drawn-out knock-knock joke that’s much funnier than it has any right to be.
8. “Yoga Hosers” (2016)
The second installment in Smith’s “True North” trilogy doesn’t inspire much hope for the concluding chapter, but it does improve upon the first. Other than the “Brazis” (read: Canadian Nazis made of Bratwurst), this is essentially a spiritual successor to “Clerks” starring Smith’s and Johnny Depp’s daughters. “Yoga Hosers” isn’t exactly inspired, but even at its most objectionable, it feels like more of an old-school Smith film than he’s made in years.
7. “Mallrats” (1995)
“Mallrats” is typically considered upper-echelon Smith by ardent fans, but there’s little in this sophomore feature that isn’t done better elsewhere: “Clerks” is wittier, “Dogma” has more to say and “Jay and Silent Bob Strike Back” is more brazen. Still, as low-stakes comedies go, it’s an easy enough 90 minutes.
6. “Zack and Miri Make a Porno” (2008)
Smith’s most recent standout exhibits all the writer-director’s best qualities: vulgar but kindhearted sensibility, frequent callbacks to “Star Wars,” memorably out-there characters. It also lives up to the promise of its attention-grabbing title — albeit with more sensitivity than crudeness — even if it didn’t live up to box-office expectations.
5. “Jay and Silent Bob Strike Back” (2001)
If you were a Kevin Smith fan of a certain age in 2001, “Jay and Silent Bob Strike Back” felt like a genuine event. Moving the scene-stealing duo from supporting players to title characters was fan service of the purest kind; their antics here, though frequently over the top, are consistently hilarious. Hindsight may reveal this cameo-laden comedy as too much of a good thing, but at the time it captured a spirit that Smith has frequently lost sight of since.
4. “Clerks II” (2006)
Like most sequels, “Clerks II” was unnecessary. Unlike most sequels, it both stayed true and added to the original. Twelve years did little to change Dante and Randal’s work ethic, but the two slackers grew enough during the interim (and, more importantly, the film’s running time) to justify revisiting them. With Smith drifting in recent years from the kind of movies that first drew audiences to him, we may even be due for a third.
3. “Chasing Amy” (1997)
In some respects the most dated of Smith’s films, “Chasing Amy” might also be the best-intentioned — an earnest, heart-in-the-right place drama whose portrayal of LGBT relationships is very much of its time. Silent Bob’s most disarming monologue remains a highlight, and Joey Lauren Adams delivers her best performance to date.
2. “Dogma” (1999)
For his most ambitious project to date, Smith tackled religious precepts in exactly the manner you’d expect him to — which isn’t a criticism. “Dogma” is irreverent, of course, but at times it achieves a sort of grace. Who would have guessed that, for all his familiar characters, two of Smith’s finest creations would be Alan Rickman as an angel and Alanis Morissette as God?
1. “Clerks” (1994)
Whatever your thoughts on Smith’s more recent output, we’ll always have “Clerks.” Most of the now-signature elements introduced in his indie debut — the casual, rapid-fire banter and the endearing slackers delivering it — haven’t been bested. Smith maxed out credit cards and filmed at night in the convenience store where he himself worked in order to make “Clerks,” and became a standard-bearer of independent film in the process. Not bad for a guy who wasn’t even supposed to be here.
Where does “Yoga Hosers” fall in the New Jersey native’s filmmaking body of work?
Kevin Smith has carved out a distinctive niche for himself over the past two decades. With “Yoga Hosers” out now, here’s a chance to remind yourself of his entire filmography so far — and which of his works are most worth revisiting.
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