By Jonathan Monovich.

The 4:30 Movie pridefully asserts its fandom.”

In The 4:30 Movie, Brian’s (Austin Zajur) life – like that of his friends Burny (Nicholas Cirillo) and Belly (Reed Northrup) – revolves around his time spent at his local theater, Atlantic Cinemas, where he dreams of becoming a filmmaker. The 4:30 Movie’s setting is especially personal to Smith as he now owns the theater under the moniker Smodcastle Cinemas, rescuing it from closure. In the process of asking his dream girl, Melody Barnegat (Siena Agudong), on a date to the 4:30pm screening of a new detective film, she mentions “you sure know a lot about movies.” Indeed, he does, namedropping Craig T. Nelson is the father in Poltergeist (1982) and that Tobe Hooper is the director to Melody’s surprise. Outside of moviegoing, Brian is seen keeping up-to-date via Starlog magazine, organizing his thoughts for aspiring film projects via a tape recorder, jamming to Chaka Khan, and passionately arguing with his buddies about personal takes on sequels, theoretical standoffs between horror icons, and more. Given Smith’s claim to fame with Clerks (1994), whose pop culturally referential dialogue was inspired by Quentin Tarantino’s Reservoir Dogs (1992), it should come with little surprise that The 4:30 Movie is jampacked with comparable quips. Some of the many films of Smith’s heyday that are referenced include Exorcist II: The Heretic (1977), Jaws 2 (1978), The Empire Strikes Back (1980), Valley Girl (1983), Young Sherlock Holmes (1985), and Poltergeist II: The Other Side (1986).

Like Mallrats (1995), Jay and Silent Bob Strike Back (2001), and other entries of Smith’s thirty year career, The 4:30 Movie pridefully asserts its fandom. Smith is quite comfortable letting his inner nerd roam free, and The 4:30 Movie is no different. Whereas films of the “directopic” genre are arguably more self-serving for the therapeutic qualities they offer to their creators, The 4:30 Movie has no interest in dwelling on trauma. Rather, Smith fixates on having fun. The 4:30 Movie is designed to both bring joy to viewers and remind us why movies hold such a special place in our hearts. Though The 4:30 Movie may not be as polished as other “directopics,” that does not detract. Smith’s love for movies, like his idol turned friend Tarantino, is pure. Smith is unconcerned with posturing, and his genuine love for movies and the moviegoing experience makes The 4:30 Movie quite enjoyable. Smith even goes through the effort of creating faux trailers, parodying Angel (1983) and Ghoulies (1984), with appearances from Smith’s daughter, Harley Quinn, and longtime pal Jason Mewes. These trailers accompany a Flash Gordon (1980) spoof, starring Diedrich Bader. Details like these exemplify what make Smith’s films special.

Despite its charm, The 4:30 Movie’s main shortcoming is in its leads. Cirillo and Barnegat overact throughout the film as do Zajur and Northrup at times. The youthful cast does not pack the same punch that Brian O’Halloran, Jeff Anderson, Jason Mewes, Marilyn Ghigliotti, Lisa Spoonauer, and Smith himself brought to his debut Clerks. Regardless, Smith brings out memorable moments from the newcomers. The main draw of The 4:30 Movie is undoubtedly its concept and will surely appeal to viewers looking to unwind, reminisce about times well spent at the cinema, and let the good times roll. Smith has gone on record saying he is not a perfectionist. With The 4:30 Movie, he has made a film that is “good enough” to please both loyal fans and those unfamiliar with his work.

The 4:30 Movie’s comedic setup revolves around the boys sneaking in and out of R-rated movies to the displeasure of the theater’s manager – Mike (Ken Jeong). Mike’s growing frustration with the boys threatens Brian’s big plans with Melody and cause tensions to rise amongst the friend group. Jeong along with cameos from Sam Richardson as wrestler “Major Murder,” Rachel Dratch/Jason Lee as Brian’s parents, and Justin Long as a Rocky IV (1985) fan offer some of the film’s best moments. The alumni of Smith’s “View Askewniverse” are plentiful in The 4:30 Movie, which helps string the film along through its limitations. There is an overreliance on the crass at times, but Smith’s ability to make the film simultaneously heartwarming makes The 4:30 Movie a success. We all have fond memories associated with movie theaters, and Kevin Smith’s make for an uplifting film that will remind you of your own.

Released via Saban Films, The 4:30 Movie is currently available on digital.

Jonathan Monovich is a Chicago-based writer and a regular contributor for Film International. His writing has also been featured in Film Matters, Bright Lights Film Journal, and PopMatters.

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