“Jay and Silent Bob Strike Back”
a short amount of time, director Kevin Smith has begun his own mini-empire located in the landfills of New Jersey. Beginning with “Clerks” in 1994, Smith combines a lo-fi aesthetic with bathroom humor and an excellent ear for dialogue. “Jay and Silent Bob Strike Back” is a return to Smith’s original roots where plot matters less than his spoofy satirical intent.
The story is of Jay (Jason Mewes) and Silent Bob’s (Kevin Smith) journey from New Jersey to Hollywood to stop Miramax from making a film about their lives, go figure. Smith takes the genre of the road movie and flips it entirely on its head, skewering everyone in his path meanwhile.
Cameo’s abound, from the likes of comedian George Carlin as a hitchhiker willing to take “a shot in the mouth,” to Ben Affleck, Matt Damon and Chris Rock, once again.
Also in the film are Jason Biggs (American Pie), James Van Der Beek (Dawson’s Creek), Carrie Fischer, and Saturday Night Live’s Will Ferrell and Tracy Morgan.
This time Affleck and Damon repeatedly make fun of themselves and past career choices on the screen. Both starred in Smith’s last release, “Dogma,” as well as in past cameo appearances.
Jay and Silent Bob run into four beautiful ladies masquerading as PETA members. However, they use the two stoners just to divert attention from their diamond heist scheme.
Shannon Elizabeth (American Pie) plays Jay’s newfound love interest, Justice. Jay likes her enough to say that, “She’s the first woman I ever loved enough to not stick my hands down her pants.”
The film’s major role is mocking Hollywood conventions and anyone else in Smith’s path. Affleck and Damon are seen shooting a sequel to “Good Will Hunting.” The stereotyped online film geeks are even ridiculed.
As Jay and Silent Bob check an Internet message board, they find a comment from a “Magnolia Fan” that ridicules Jay and Bob for uttering, “baby-talk catch phrases like a third-rate Cheech and Chong, or Bill and Ted.” No wonder that Smith is pinning himself and his own characters at times for comic relief.
The director’s greatest talent is arousing controversy without really trying. Catholic organizations protested “Dogma’s” irreverent take on religion. His new release is drawing fire from G.L.A.D.D.
The organization takes offense at the film’s numerous gay jokes. Smith’s only defense is that he’s “preaching tolerance by hiding it in humor.” He actually pokes fun at so many separate entities in this film that it’s hard to assume he’s aiming at any group in particular.
The film’s acidic combination of bathroom humor and all-around utter silliness makes a delectable package for the young viewer. This is the kind of film you can go see and really not be forced to think at all through its duration. Smith concocts so many debauchery-ridden scenarios that its hard to pick anything more outrageous or entertaining.