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Review: Jay and Silent Bob Reboot (2019)

Make no mistake about it, director Kevin Smith knew exactly what he was doing with this movie. He knew the premise was weak and happily called it for what it was – a reboot – not a remake. If you are not sure of the difference there is a nice moment in the film where this is explained for you in great detail!

If you have never seen a film that takes place in Kevin Smith’s Viewaskewniverse that you will have no clue at all what is going on in this film. Jay and Silent Bob Reboot is a loose plot that we have seen before in Jay and Silent Bob Strikes Back held together with a wide variety of easter eggs, callbacks, and cameos (including two members of the Hicks family portrayed by Brian O’Halloran) from all of Kevin’s past works right back to 1994’s Clerks.

If you are a fan then this film will work for you and you will have fun spotting all the different references – play close attention to the badge on Jay’s hat! To the uninitiated this will probably come across as a flimsy propped up movie with a plot as thin as a Sharknado movie.

The plot that does exist surrounding Jay and Silent Bob being tricked out of using their own names, discovering a reboot movie is being made about them, planning to stop it, and then Jay discovering he has a daughter but having to keep it secret does actually deliver. Jason Mewes as Jay manages to grow more as an actor every time he steps in front of the camera whilst Millennium “Milly” Faulken, his estranged daughter, played by Smith’s real life daughter Harley Quinn Smith, steps up and delivers far beyond expectations adding much needed layers to the movie.

Verdict: 7/10. Long-time funs will love spotting all the references and finding out what some of their favourite characters have been up to. I will not spoil all the cameos here but you will enjoy them. If you have no clue what is going on, pause the movie and go and watch Clerks and follow the path from there. Underneath all the weed and dick jokes is an emotional heart that manages to crawl out onto its sleeve and deliver a strong positive message. Smith has always been self-referential and when it works here it does brilliantly. It remains a film that could of just gone round itself and tightened up its edges just a little bit more.

 

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