As I’m sure all of you do, I try not to let the feelings of others influence the way that I feel about a film. I also attempt – though rarely succeed – to go into a film experience without prejudice. As an unpaid film reviewer, that’s essentially an impossible task, since you’re paying and you likely want to see something to be seeing it in the first place. Common sense, right?
Well, I had tempered my expectations for Zack and Miri heading in. Despite my desire to see it, I haven’t been too hot on Kevin Smith’s last few films, and I didn’t think this would change that trend. Running parallel to that were the mostly lukewarm reviews, especially those that panned this for being obvious or dated or "been there, done that" (from the Phoenix New Times: "nothing about [it] feels terribly fresh, much less transgressive"; from Entertainment Weekly: "in this otherwise coarse movie’s whole tired, simulated premise").
Huh?
Am I missing something? Perhaps this is looking at the criticism a bit too simplisticly, but can anyone tell me what the last amateur porn-inspired romantic comedy was? I’ll grant that Smith is probably about as much of an overall original as I am an overall encyclopedia of films, but I’ll give Smith some credit on the general concept of the film, as others should as well. Sure, give him an earful for continually relying on Star Wars for plot points, but at the same time, recognize that the days of Jay and Silent Bob are gone (or at least, not on display here), and in their place, we have a Jason Mewes that’s clean, sober, and acting. Anyway, the bigger mistake made by Smith was latching onto The Judd Apatow Players, from stars Seth Rogen and Elizabeth Banks to supporting player Craig Robinson.
Of course, despite how pathetic it seems to cop from Apatow’s book, it’s hard to argue with the results. Smith takes his South Park-like model (crude exterior surrounding a cuddly center), keeps the funny, and improves his writing and directorial efforts. The camera moves. Music frames scenes perfectly. The in-jokes disappear and are replaced by excellent extended cameos by professional actors, and, as mentioned, even Jason Mewes and Jeff Anderson (the only other Smith pal featured, and the only one I would have taken).
So maybe it’s not the funniest movie ever, and maybe it’s not Annie Hall (what romantic comedy these days is wildly original, though?), but to fault a director for playing to his strengths, all the while improving his craft, seems petty to me. Of course, maybe others were just setting their expectations too high, perhaps expecting to see something more controversial given the title. What, you thought it could get worse than a man fornicating with a donkey?
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