One would be forgiven for forgetting that Kevin Smith is a talented filmmaker. He makes “hanging out with friends,” inside-joke-filled movies with ease, such as 2019’s “Jay and Silent Bob Reboot.” That was his first post-heart-attack film, a giddy celebration of the fact that he’s still here. But it’s not exactly top-shelf filmmaking.
In “Clerks III,” he reminds us he’s not a hack – and (for those were never so down on him) that he doesn’t have to be hackneyed. This third (and likely capper) of the 28-year-spanning “Clerks” trilogy is a wonderfully crafted, surprisingly daring tale of how life gives and takes from a person.
Heart and humor
“Clerks III” hits us with emotional moments in the lives of Dante (Brian O’Halloran) and Randal (Jeff Anderson), now approaching 50 and still working at the Quick Stop, which they co-own as per 2006’s “Clerks II.”
“Clerks III” (2022)
Director: Kevin Smith
Writer: Kevin Smith
Stars: Brian O’Halloran, Jeff Anderson, Trevor Fehrman
It’s also funny. A goofy running gag comes from Elias (Trevor Fehrman), the religious virgin who works at the QS, and Elias’ new Silent Bob-esque sidekick Blockchain (Austin Zajur). Trying out Satan instead of Jesus, they accidentally dress as various film characters, leading to lines like “What’s a blade runner?”
That’s a spice. The meat and potatoes come from the expertly crafted gag humor that O’Halloran and Anderson have down pat. Randal says something self-centered or crass, and Dante reacts with shock. That’s always funny to me because shouldn’t Dante be used to this by now? That said, the rhythm of the friends’ patter has clearly been built over decades.
As funny as a heart attack
Smith cues us that “Clerks III” isn’t just for laughs when Randal has a heart attack. Humor is wrung from the fact that the stent goes in through the groin, so the doctors and nurses will see what Randal fears is a relatively small penis (despite his boasts to Dante).
Yet it’s balanced with Dante’s concern for his friend. Then the film only gets better when Randal – now a stand-in for Smith – decides to make “Inconvenience” (a stand-in for “Clerks”). While the idea of a movie-within-a-movie is not new (see “Zack and Miri,” for one), it’s nonetheless a blast to essentially see “Clerks” being made.
It’s humorous to see a parade of well-known actors trying out for roles, culminating in Randal’s decision to use regular people. Dante questions the use of non-actors, perfectly timed with Jay (Jason Mewes) walking in the door.
When Silent Bob (Smith) becomes the cinematographer, it’s the right amount of meta. In showing the “shooting” of scenes from “Clerks,” we see how Mewes (a total novice at the time) messes up a line and Smith has to deliver it. This ends the idea of his character being silent, but it also sets up the tradition of Silent Bob saying one brilliant thing per film.
‘Clerks’ … filmed in color
In a voiceover that accompanies the closing credits, Smith says “Clerks III” gave him a chance to show viewers how he sees “Clerks” in his memories: in color. The narrative itself explains why black-and-white is the right choice: to hide the store’s ugly colors and also give a security-camera aesthetic.
A neat aesthetic of “Clerks III” is that we see both the off-camera (color) and in-camera (B&W) moments. This is artistically used in a third-act confrontation between the friends.
At this point, though we don’t know it, we’re starting on a rollercoaster of emotions that takes us to the end. Smith had prepared us for this with an earlier revelation about Dante’s post-“Clerks II” experiences, but it still packs a wallop.
For the love of New Jersey
I noted in my review of “Clerks II” that the 1990s needle drops are ironic, reflecting how Dante and Randal can’t move forward. “Clerks III’s” music choices aren’t so multi-layered; they are simply heartfelt – albeit in a love/hate fashion.
Smith selects two songs about New Jersey – one negative, one positive. Characters wear Leonardo, N.J., T-shirts. “Clerks III” is about a love of home (no matter how objectively awful), and Smith’s own filmmaking history – but it doesn’t play as self-centered.
He pulls this off because O’Halloran, Anderson, Mewes and others have been with him throughout the journey. It’s not just his life; it’s unavoidably entwined with others’ (Smith has always known this; Randal learns it).
“Clerks III” includes inside nods to Smith’s career. Jay’s cryptic line says he and Silent Bob have appeared in two movies, thus asking devoted fans to figure out which of their appearances aren’t part of the View Asknewniverse.
Also, Smith’s and Mewes’ “Degrassi: The Next Generation” stint is referenced with a quiet needle drop of “Whatever It Takes.” Like that Canadian teen show, “Clerks III” is about relationships and life challenges. But this film is not for a moment soapy. It remains a “Clerks” film … and (we’ve waited a long time to say this) one of Smith’s best films, period.