The 4:30 Movie

Iconic writer / director Kevin Smith's '80s-based autobiographical "The 4:30 Movie" (prequelling his "Clerks" trilogy) spans a pivotal day in teen Austin Zajur's life that doesn't run smooth after he planned spending it with buds Reed Northrup & Nicholas Cirillo (and crush Siena Agundong) at douche Ken Jeong's cinema. Its light dramedy is laced with ample movie-nerd references, fun fake film trailers, and cameos from Smith faves like Justin Long, Rosario Dawson, Jason Lee, Jason Mewes, Jason Biggs, & Harley Quinn Smith (his daughter). While not matching the similarly themed "I Like Movies", Smith fans (including all fellow cinephiles, right?) will for sure adore it.

Put aside this is from director / writer Kevin Smith and judging 'The 4:30 Movie' on it's own merits you still don't come back with much to show for it. Very few laughs, slightly annoying characters and knee deep life sentiment as the plot charts a course of young romance. A downward trajectory of a man who once made witty comedies continues via tired inspiration.

New Jersey teen Brian (Austin Zajur) rekindles with his crush Melody (Siena Agudong) as plans are made to sneak into the 4:30 showing of a R-rated film together (hence the title). In the meanwhile, he hangs out with his best friends on route to a day at the movies. Here friendships and a possible relationship will be tested by egomaniac manager Mike (Ken Jeong).

I'll give a cast of young actors credit for making their characters feel down to earth if nothing else. However a story tracing the directors early life is equal parts cliched and meandering. With nothing new to say, very few comedy setups it has the entertainment factor of an afterschool special and about as much emotional depth as one too.

This isn't about the 80's neither. Ditto society's affection for going to the movies (kids are sneaking into films they didn't pay for, but hey that's okay?). What does it have to say about growing up or interactions with the opposite sex? Nothing you haven't saw or heard done better. It's coda? Awfully close to self-aggrandizing as in "Here's my life! Look at me! I made it in Hollywood after all!".

A lot of critics think 'The 4:30 Movie' is a move in the right direction for Smith and I couldn't disagree more. This was a tale in boredom and eventually I gave up hope it would get better. A handful of cameos don't elevate things. With nothing insightful, no killer dialog and few laughs the hardcore fans are saying this is a return to form. It really ain't.

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.

It seems Kevin is afraid of himself.

Let me explain, we got a bit of the old Kev back in Clerks III, with great dialogs, tons of laughter and an elegance and profoundness to the lines that rivaled his early work.

It wasn't Red State (by far Smith's undefeated Magnum Opus) but at least it looked like he was starting to come back.

And then we get this movie that while cute, it felt like it was afraid of having an edge. 3 or 4 jokes cut through but the rest? Geez...

There's only so much that cameos can do if you don't have anything to say. And Kevin Smith does t seem to have anything important to say... or he's afraid to say anything at all.

Does he think they're going to mock him? Does he think the audience will not "get it"?

He was on his way to be a great writer and a great filmmaker, and for the most part I think he still can be. But he needs to get out of his own way, dig deep and say what he really wants to say.

That or he ran out of things to talk about because he has been podcasting for more than a decade.

Watch the movie for completionism. But that's about it.

"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.