There's a running gag in Kevin Smith's new film in which the director pokes fun at people who go on the internet and criticize his movies. At first, it's funny, but then, as Smith returns to the bit over and over, he seems to reveal himself as a tad obsessive. It's as if he has a problem with anyone using this new medium of free expression to do anything but praise his movies. So, Kevin, I hope you're reading this...

Ever since his first ultra low-budget breakthrough, Clerks, I've recognized a great filmmaker inside Kevin Smith, a great filmmaker who's constantly being stifled by his own immature tendency toward self-indulgence. It's a fault that is best personified in each of his films by the recurring characters of Jay and Silent Bob, played by Jason Mewes and -- speaking of self-indulgence -- Smith himself.

These two stoners, never have much to offer and each of their appearances have generally detracted from Smith's efforts. In Dogma, for example, the pair's vaguely Wayne-and-Garthish act largely took away from what was otherwise a clever, interesting take on a serious subject. In my review of that film, I wrote that the duo were a "habit Smith needs to grow out of." Instead of growing beyond the characters, he's now gone and devoted an entire film to them.

The movie is Jay and Silent Bob Strike Back, and Smith claims it's the last of his "Askewniverse" movies -- the "Askewniverse" being the ever-growing cadre of New Jersey-based characters around whom all of his films have revolved. But in fact, let's hope it's the last we see of Smith's aforementioned self-absorbtion. If it is the end, then it's only because he's overdosed this time.

The tagline on the poster may suggest this is a comedy about Hollywood, but it's really a movie about Smith himself. The plot sends our weed enthusiasts west to Tinsletown in order to sabotage production of a movie based on a comic book that's based on them (for which they're not getting paid). But it's really just an excuse to make references to movies Smith has made, movies that Smith's friends have made, or, on a couple of rare ocassions, movies that Smith simply likes. And I say references, because that's all he really does -- reference his past films. He doesn't joke about the films or do anything clever. He expects us to be thrilled by the mere mention of past projects. It's like he keeps winking and nudging us in the ribs as he plunges deeper and deeper into the center of his own personal galaxy.

Simply being self-referential isn't interesting anymore. Been there, done that. Seeing Ben Affleck's character acknowledge the existence of an actor named Ben Affleck as he stares knowingly into the camera just isn't enough of a punchline.

As the movie goes on, Smith continues to make increasingly obscure references to his own movies. These jokes may reward his large cult of fans, but those fans would probably be better rewarded if he gave them a decent film instead.

There are some funny madcap bits as Jay and Bob traverse the nation, and Smith for once actually shows some visual flair, but it's usually not long until the next lame film reference. One of the few times he manages to do something clever with these allusions is when Affleck and Matt Damon pop-up in an funny riff on Good Will Hunting. But too often, Smith is merely reveling in the work of others without contributing anything worthy of his own. I'm sure it's always been Kevin Smith's dream to get in a light saber duel with Mark Hamill, but that does not mean anyone but Kevin Smith will be entertained by it. If someone ever gives me a budget to make a movie, I won't use it to subject other people to my own personal fantasies.

When we're not being subjected to tepid film parodies, we have to listen to Jay's incessantly annoying "catch phrases". As a film tandem, Jay and Silent Bob have never really worked, mainly because Bob is, well, silent. Smith actually does a lot with pantomime and facial expressions, but it's hard to contribute to the comedy when you can't say anything. There's also very little original about them. Cheech and Chong did the drug thing better, Beavis and Butthead did the dumb thing better, and Penn and Teller did the silent-partner thing better. Worse, they're just not likable. Jay isn't just a doofus -- he's a creep. Smith asks us to believe that a hottie like Shannon Elizabeth would fall for Jay because she can see that deep down, he's innocent and well-meaning. But Smith offers no evidence to support her contention.

Much of Jay and Bob's banter, as it were, consists of fart jokes and gay jokes. When I heard that GLAAD was protesting the film, I figured they were overreacting. But, having seen the movie, I can see why they're upset. It's not that any of the gay jokes are particularly heinous, it's just the sheer quantity of gay jokes that's disturbing (count on one at least every five minutes).

Aside from all the homophobia and self-glorification, Smith does contribute one original element to his Askewniverse in the form of Will Ferrell, who does his usual blithering idiot routine as a Federal Wildlife Marshall. Ferrell provides the same schtick you see every week on SNL, but the sad thing is, he's the funniest thing in the whole movie.

I guess the joke is on me for bashing Jay and Bob in previous reviews, then paying to see a movie about them. But I'm just optimistic. I keep hoping Kevin Smith will fulfill his potential and make a great movie. This isn't it.

(c) Copyright 2001