The 4:30 Movie

Brian David is in love with Melody Barnegat and asks her out to catch a 4:30 show of Bucklick, an R rated comedy film. He hadn't spoken to her for an year after he had got too scared while making out with her in the pool. She has decided to give him another chance but Brian's best friend Burny is not at all happy with this development as he along with Belly wanted to do theater hopping all day. Things take a turn when Belly is banned for life by egotistic theater manager yet they sneak him in. Their day's plan gets to be reshuffled to accommodate Melody but things take the worse turn when all 3 get banned. How does Brian and Melody's date turn out to be on this messy day? How does the friendship triumph over the egotistical manager? How the movies play an impactful role in all of this, forms rest of the story.

Kevin Smith has once again reached out to his actual comfort zone to deliver yet another film that is instantly relatable. For someone who loves movies, sharing that emotion with his audience and connecting with it, isn't much of a challenge. This might not be Clerks or Mallrats, the characters still drive the story and they do the trick. Belly eats his up his big moment and it works really well. All the nostalgic film references and ofcourse overly repetitive jokes about films and celebs' future while knowing the predictions turn exactly opposite, are still fun. The simple story of theater hopping and the aim to make it to the 4:30pm show with constant challenges thrown in the form of the theater manager while emphasising on the friendship as well as first love, Kevin Smith is at ease in terms of making. In the end, that little conversation between Brian and Usher, is what truly stayed with me - we are filmmakers, we just haven't made our movie yet. For all movie lovers, it is worth catching The 4:30pm Movie.

Couldn't sit through the 2nd half of the movie, except of one joke where a character wishes death upon another was the only moment that made me giggle, other than that everything was so unnatural and cringe, not even guest appearances of Justin Long nor Jason Lee could have saved it. Clerks and Mallrats fans stay away and rather go see Chasing Amy on a loop, this is borderline criminal on pair with his Yoga Hosers attempts at humor. I dont know what the cause behind this trend, age? Times of political correctness? If that's the case I would appreciate more attempts in vein of Tusk and Red State going forward. Stick to horror genre Kevin. Thanks your fan.

A very short movie that is padded with homages for movies from the past that never existed - can you really not play any trailers from real movies from the past you can make fun of? What's with the fake trailers? What was the point? Just to vaguely bring some nostalgia to the table and satirise the quality of the movie scene in the 80s.

And once again, Kevin Smith finds himself to use his movie as a platform to criticise other movies or franchises...basically if a letterboxed user was a director. This is what it would come out. Does anybody have Kevin Smith's user on here?

The actors have their limited charm in this, but they were the correct choices. This is thin and forgettable.

Kevin Smith FINALLY gets his mojo back in this one.

For the first time since Red State, or arguably Tusk, the film is shot with some sense of inspired visual creativity. The promise of the filmmaker Kevin Smith could be that was seen in Clerks II finally gets to fully bloom. The confused editing and flat cinematography that haunted Yoga Hosers and Clerks III is finally gone, and not only is it very pleasant to look at, but the slick charisma of Kevin Smith's characters has finally returned.

The worst offender might be that certain jokes and pieces of expository dialogue repeats itself a little too much for my taste, and the humor leans more towards the laid back low-brow style of humor prevalent in Mallrats, and less towards the frenzy of snappy zingers of Clerks or Dogma.

Where The 4:30 Movie truly shines, however, and becomes something truly special and memorable, is it's authenticity. The love story feels so personal, sweet and vulnerable, told with a unique voice that only Kevin Smith could pull off. The banter and chemistry between Brian and Melody reminds you of those truly charming, flirtatious interactions from Clerks, Chasing Amy and Clerks II.

Smith does something you might have never expected to see in one of his films, which is to completely let go of his dialogue on ocassions and completely surrender the film to the score by Bear McCreary, which gives it an eerie and bittersweet feeling of stepping into a nostalgic dream.

All in all, The 4:30 Movie feels like a beefed up version of Mallrats, with a very loose hangout movie structure that more than anything captures a vibe and a feeling that makes you go "You know what? That was very sweet. I'm glad you shared that with me, Kevin".

If you've been a fan of The Askewniverse since the 90s, and might've felt like he disappeared into a cloud of weed smoke for a while, I do wholeheartedly recommend you check this out. It didn't always connect with me comedically, but the voice you remembered that Kevin Smith used to have back in the 90s is so back, with a far more cinematically confident vibe this time. It starts and ends so strong, with scenes that most definitely deserve to be on the highlight reel of this man's career.

Everything you could possibly love or hate about a Kevin Smith movie is in here, and whether or not if you're fan, I think it's worth celebrating that unlike certain films he's put out recently that almost felt like a passive-aggressive attack on the audience, this is probably the first time since Zack & Miri Make A Porno that I can confidently say to myself that "THAT was a Kevin Smith movie!"

"4:30" is Kevin Smith's latest addition to his filmography, and it presents an interesting mix of elements that might leave audiences divided. The film revolves around its leads, who, while undoubtedly central to the narrative, come off as insufferable at times. It's a shame that Smith seems to struggle with creating truly likable characters, especially when compared to his earlier works where his characters resonated deeply with audiences.

In contrast, where "4:30" truly shines is in its side characters. These supporting roles inject much-needed charm and depth into the movie, saving it from becoming a complete letdown. It's in these moments and interactions that the film finds its rhythm and provides some enjoyable and watchable scenes.

While "4:30" may not reach the same heights as some of Smith's earlier classics, it still manages to surpass the last few lackluster entries in his filmography. There's a sense of improvement evident in this movie, a glimmer of the filmmaker revisiting his strengths and rediscovering what made his earlier works so beloved.

Despite its flaws, "4:30" offers a glimpse of Smith returning to form, albeit with some hiccups along the way. The pacing, dialogue, and character development may not be as polished as fans would hope for, but there's a raw honesty to the storytelling that is hard to ignore.

In conclusion, "4:30" is a mixed bag. While the leads may come across as insufferable and the writing lacking its past charm, the film is buoyed by strong performances from its side characters and an overall improvement in quality compared to Smith's recent endeavors. It might not be a perfect movie, but it shows promise and hints at a potential return to form for the filmmaker. With a rating of 5/10 stars, "4:30" is worth a watch for fans of Kevin Smith, but it may leave some wishing for more of the magic that defined his earlier works.