Clerks II

Just as well I'm not writing for the Politically Correct Times or The Mary Whitehouse Fanclub for within minutes of arriving at his Reel Life audience discussion event to coincide with the UK premiere of Clerks II, Kevin Smith has discussed anal sex ('mouth to ass man') and 'snowballing', a practice readers may well be fond of but which is best not described here. For a full description read his hugely popular blog - silentbobspeaks.com - that along with his cult film output has guaranteed a large loyal fanbase ever since the original micro budget Clerks (featuring the original snowballing dialogue) hit the indie circuit in 1994.

That debut, noted more for its profane and playful dialogue and laid back characters than its production values is also apparent in Smith's demeanour, and his new sequel proves once again what he's best at, which is, erm......playful dialogue and laid back characters. If the informal and irreverent Smith was any more laid back he'd be lying horizontal, arms folded behind him, legs crossed in front and buried up to his nose in the earth. Once the monologue about his wife's constipation is out the way, the talk settles down into an unravelling of the highs and lows of his career: his working relationship with the Weinsteins, his preference for real life characters against slick cinema and the inspiration and debt he owes to Richard Linklater's Slacker, the original ultra low budget X Generation movie that made him think 'if this guy from Texas can do it then so can I'.

In Clerks II, Smith has gone full circle, returning and staying in tune with these original values. Although the budget and production values here far outstrip the original, this is essentially, a decade later, the same film transposed to a new setting where we find our antiheroes firmly locked into their eternally dysfunctional lives and predictable behaviour.

It's a deliciously irreverent comeback for a director whose more recent forays into the Hollywood machinery (Jersey Girl, Jay & Silent Bob Strike Back) were not exactly disastrous or without merit, but simply not Smith doing what he's best at which is telling it like it is. Clerks II sincerely tells it like it is and is an envelope pushing excercise in bad taste. Balancing a self consciously feel good story about the awkward and very real nature of human friendships it is also an orgy of profanity both cringeworthy and side splittingly funny. It's a healthy serving of semi taboo scenarios... religion, sexism, racism, class, drugs and bestiality are all up for grabs. They all get a good airing and a healthy kicking.

Opening with an unforgettably brilliant visual gag tied to a moment of Keatonesque deadpan humour and closing with what is politely described as 'inter-species erotica', Clerks II essentially follows the trials and tribulations of the inept unintrepid duo Dante and Randall as they flip burgers in a lifeless, tacky and soul draining McDonalds-esque fast food joint. Bickering and squabbling over trivia as well as the big life issues, this is about two men wrestling with the struggle to move on in life and grow up, and perhaps discovering along the way that deep down, they're really quite content to lead a simple and unimpressive life.

As in the original, some of the acting is a little wooden and not every gag works; but then, this isn't an attempt at a slick retread. Since the whole enterprise is essentially a pantomime it doesn't worry about smoothing over the rough edges and this lends the film an air of honesty and genuine charm. The backbone centres on Dante's love life as he is torn between a blossoming affection for his boss and his controlling and childish fiancee (played by Smith's real life wife). It's a simple and engaging premise which is really the scaffolding on which to lay an impressive array of frustrated rants and comical sketches.

Notable turns come from Rosario Dawson as the likeable and sassy manager Becky, and Jeff Anderson, who really is the star and stealer of the film. His performance grows with each scene as he and the rest of the characters gradually develop into three dimensional human beings. Anderson's garbage mouthed utterances are the highlight and driving force of the film.

Throw in a hilarious Lord of the Rings sketch, some brief moments of well timed slapstick, a fantasy dance routine and periodic turns from film icons Jay and Silent Bob and you have a recipe for a very tasty dish indeed. For me this is Smith's best film yet and I loved it.