Search This Blog

Sunday, April 19, 2020


Our heroes return.

Just sat through JAY AND SILENT BOB REBOOT (2019) and found it to be better than expected, though it's hands down the second-weakest entry in the series (after MALLRATS). As is repeatedly pointed out over the course of the movie it's basically a remake, er, "reboot" of JAY AND SILENT BOB STRIKE BACK (2001), along with elements and characters from the other films in the run, and once more our hapless heroes set off on a cross-country odyssey to prevent the making of a film about them, this time a reboot. 

Jay (Jason Mewes) pays tribute to Buffalo Bill.

It starts out rather rote and I almost turned it off, but things pick up considerably once we are introduced to Millennium "Milly" Faulken (Harley Quinn Smith in what is easily her best role) and her trio of girlfriends, and she is revealed to be the daughter that Jay (Jason Mewes) never knew he had fathered. Sadly, Jay and Silent Bob (Kevin Smith) are sworn to secrecy regarding Jay being Millys dad, after which the girls hijack the stoners' road trip and force them to take them along to Hollywood. Wacky adventures ensue and Jay, who himself never met his dad must come to terms with his sudden unexpected parenthood of a belligerent and dangerous 18-year-old girl. That's over-simplifying a plot that's already about as far from Dostoyevsky as one can get, so I suggest smoking a fat blunt and just going with it. 

Millennium "Milly" Faulken (Harley Quinn Smith). When casting your own daughter is a good idea.

The movie overall is just okay, and instead of simply rehashing JAY AND SILENT BOB STRIKE BACK, I would have preferred for writer/director/star Kevin Smith to have focused the narrative on the sub-plot of Jay and Milly. Along with his familiar shenanigans as the motor-mouthed and not-necessarily-bright Jay, Mewes solidly delivers in the heartfelt scenes between Jay and Milly. It's in no uncertain terms a surprising effort from him and is a crowning emotional through point in what would otherwise just be a silly and disposable movie. We also feel for Milly's half of the equation, as it's made clear that much of her attitude and aggression comes from always having longed to meet the father that she never knew, which Jay eventually twigs to, and it truly rips one's heart out as we see him struggle to keep his word about not revealing to Milly exactly who he is. There are a number of moments of verbal exchange between Jay and Milly that struck too close to home for me and I freely admit that I openly wept in certain spots. (Those who know me well in the world out side of facebook will understand why.)
BOTTOM LINE: The emotional arc for Jay is what makes this film worth sitting through, and I sincerely hope that Mewes goes forward to stretch his wings in parts that allow him more to do than resort to his signature and admittedly funny stoner antics. Not a full-on return to form for Kevin Smith, but parts of this are razor-sharp. C+ for the film as a whole entity, but an A+ for the realization of the Jay and Milly sub-plot.

Poster from the theatrical release.


Unknown said...

I’m just honestly tired of Kevin Smith and his “Im god of nerddom” shtick.

Wendy Jo said...

I've never seen any of those Jay and Silent Bob movies, but for some reason this post made me wonder what your take is on the Bing Crosby-Bob Hope canon.

Robert Cousland said...

Without question, Sir Bunche’s take on “The Road” movies would make for an interesting and entertaining read.