In Kevin Smith’s debut feature “Clerks,” way back in 1994, the indie filmmaker told a story of two workaday twentysomethings whose lives were so tragically limited that they not only revolved around retail work, but when the characters did consider life’s big questions and mysteries, their lack of personal experience also left them searching for deeper meaning in pop culture ephemera like “Star Wars.”
Smith was a young filmmaker, naive cinematically but painfully, sometimes embarrassingly earnest in his commitment to capturing the lives of foul-mouthed losers who fill their days with crass sexual humor and existential malaise. Nearly 30 years later — and 16 years after “Clerks II” found his title characters trapped in the same old rut — he’s back with “Clerks III,” a film which doesn’t plumb popular culture for the meaning of life. Instead, it searches for that depth within the original “Clerks” and Smith’s own life story.
Smith was a young filmmaker, naive cinematically but painfully, sometimes embarrassingly earnest in his commitment to capturing the lives of foul-mouthed losers who fill their days with crass sexual humor and existential malaise. Nearly 30 years later — and 16 years after “Clerks II” found his title characters trapped in the same old rut — he’s back with “Clerks III,” a film which doesn’t plumb popular culture for the meaning of life. Instead, it searches for that depth within the original “Clerks” and Smith’s own life story.
- 9/8/2022
- by William Bibbiani
- The Wrap
As You “Like” It: Subkoff Finds the Sound and the Shrillness in Social Media
Actress Tara Subkoff makes her directorial debut with #Horror, a film whose very title relies on the visual significance of a symbol. However, merely saying the title aloud robs it of certain legitimacy, marking it always and forever as part of a certain lingo from a particularly vapid era (not that teenagers from previous generations weren’t equally obtuse, but since everything is now continually recorded from the banality of their lives, the stream of evidence won’t ever dissipate). While Subkoff’s idea is sometimes interesting, apparently based on an actual instance of social media bullying which mutated into murder, it’s as equally ungainly and unpleasant in its depiction of these vacuous creatures of privilege as they descend into a night of madness.
A wave of English language J-horror remakes in the early 2000s signified,...
Actress Tara Subkoff makes her directorial debut with #Horror, a film whose very title relies on the visual significance of a symbol. However, merely saying the title aloud robs it of certain legitimacy, marking it always and forever as part of a certain lingo from a particularly vapid era (not that teenagers from previous generations weren’t equally obtuse, but since everything is now continually recorded from the banality of their lives, the stream of evidence won’t ever dissipate). While Subkoff’s idea is sometimes interesting, apparently based on an actual instance of social media bullying which mutated into murder, it’s as equally ungainly and unpleasant in its depiction of these vacuous creatures of privilege as they descend into a night of madness.
A wave of English language J-horror remakes in the early 2000s signified,...
- 11/19/2015
- by Nicholas Bell
- IONCINEMA.com
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.