Jay and silent Bob reboot's reviews

It?s a ?90s nostalgia movie that relentlessly tweaks ?90s nostalgia (?Don?t Tell Mom the Babysitter?s Dead,? the erotic idealization of Shannon Elizabeth, the Method Man/Redman weed comedy ?How High,? released in 2001). It makes relentless fun of sequels, reboots, and remakes, even though it?s Smith?s version of all those things. Beyond that, it?s a comedy of thin light ripped-from-the-parking-lot (and just plain ripped) characters who have become, over time, almost mind-bogglingly meta.

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Smith basically just swings from cameo to cameo in the hopes that no one will care that his movie is short on actual scenes, but each appearance is a case of diminishing returns, and the lack of narrative momentum results in a sense of inertia that makes the experience feel so, so much longer than its 104 minutes.

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Smith often calls back to lame jokes?usually about how gay sex is apparently as weird as pot is cool, which are especially embarrassing given the average cast member?s age?that were already mono-tired in the dumb, but mostly satisfying ?Jay and Silent Bob Strike Back,? with a mawkish subplot involving Jay?s frustrated attempts at bonding with Milly (Harley Quinn Smith), his estranged, Chronic-Con-obsessed daughter.

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But let?s be honest here: No one who has even considered buying a ticket to see Jay And Silent Bob Reboot needs this review. For the Smith faithful, the writer-director-raconteur?s every-nerd persona is part of the appeal. But in recent years, this fans-only mentality has led him to produce work that barely skirts the edge of watchability. (See: Yoga Hosers.) Awkward and unfunny in exceptionally long stretches, Reboot probably won?t turn his diehard fans against him. But it?s unlikely to win him any new converts either. For that, there?s Clerks, Mallrats, or Chasing Amy.

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