SURTALCHILGAAN DEER DARAHAD ARILJ KINO GARNA.
“Jay and Silent Bob Strike Back” resemble a response to that inquiry. It is turning out to be clear that the film universe of Kevin Smith is interconnected, that characters from one motion picture can hope to keep running into characters from another- – like Faulkner’s Yoknapatawpha County, Smithland has a perpetual populace, despite the fact that we may not meet every one of them in each motion picture.
The interfacing strings, evidently, are Jay and Silent Bob, who we met in Smith’s first motion picture, “Agents,” where they were forever positioned outside an accommodation store, apparently pot merchants, all the more precisely sitting tight to something to happen. They moved inside in “Mallrats,” had their lives ripped off to make a comic book in “Pursuing Amy,” and gambled salvation in “Doctrine.” Having gone by the majority of Smith’s different films, they are currently given their own, in which characters and stars from the prior pictures furnish a proportional payback.
Consider the mysticism. Ben Affleck and Matt Damon show up as themselves in this motion picture, making a continuation of their motion picture “Cooperative attitude Hunting,” and afterward we go into the fourth measurement and start to suspect worm gaps in the plot, since they likewise featured in “Creed,” in which Chris Rock played a holy messenger – and now he turns up in “Jay and Silent Bob” as the executive of “Bluntman and Chronic,” which is the film taking into account the lives of Jay and Silent Bob, which is an adjustment of the comic book made in “Pursuing Amy.” And before he shows up as himself, Affleck shows up as Holden, his “Pursuing Amy” character, and acquaints Jay and Silent Bob with the Internet.
Furthermore, look- – isn’t that Joey Lauren Adams from “Pursuing Amy”? Furthermore, hey- – wasn’t Ben Affleck one of the comic specialists in “Pursuing Amy”? Keeping in mind Affleck does not play his “Pursuing Amy” character in “Jay and Silent Bob,” Jason Lee, the co-maker of the Bluntman comic, does, turning up in this one to caution Jay and Silent Bob that the comic is being made into a film by Miramax. What’s more, Miramax is the studio discharging this film, which .
“Jay and Silent Bob” will be seen as a liberality by Kevin Smith to those outside the circle of his movies – and by those inside it as Kevin Smith’s liberality to them.
Furthermore, don’t kick me off on whether it’s whole or transient. This is one of those motion pictures where the prisoners assume control over the shelter, by which I imply that the chief was clearly excessive by any shy thoughts of “contacting the greatest conceivable group of onlookers,” and permitted to make an in-joke of amazing magnitude. Like the Monty Python motion pictures, it depends for full delight on your reference book learning of the world that created it.
The story starts pretty much during childbirth, as we find that Jay (Jason Mewes) and Silent Bob (Kevin Smith) were kept as newborn children before the accommodation store in “Assistants” and have pretty much been there from that point forward. Presently a controlling request has urged them to move, and in a comic book shop they keep running into Banky Edwards (Jason Lee), who based his “Bluntman and Chronic” comic on them, and now educates them it’s been sold to Miramax.
Jay: “Miramax? I thought they just made tasteful pictures like ‘The Piano’ or ‘The Crying Game’.” Banky: “After they made ‘She’s All That,’ everything went to hellfire.” Jay and Silent Bob choose to bum a ride to the coast, and experience George Carlin as a wanderer who lets them know of the one thing ensured to get you a ride, and Carrie Fisher as a sister who speaks to a special case to Carlin’s recommendation. At that point they get a ride from four creature extremist angels (Shannon Elizabeth, Eliza Dushku, Ali Larter and Jennifer Smith), who posture as companions however need to adventure them in the burglary of a monkey.
Once in Los Angeles, we and they experience the mirror into a world where executive Gus Van Sant, Affleck and Damon show up as themselves on the arrangement of “Cooperative attitude Hunting,” and Rock is the race-card-playing chief of the “Bluntman” motion picture, which stars James Van Der Beek and Jason Biggs as Jay and Silent Bob. Also, Silent Bob at long last touches base at the monolog we persistently anticipate in each photo, and uncovers himself to be as slightest as well-spoken as Chris Matthews.
The appeal of a Kevin Smith motion picture is that it accept you don’t enter the theater as a clear slate. “Pursuing Amy” accept a little information of the universe of genuine comic books and gatherers; “Authoritative opinion” obliged you to know something about Catholic philosophy, and “Jay and Silent Bob” has minutes like the one where the Affleck character characterizes the Internet for Jay: “It’s a spot utilized the world over where individuals can meet up to bitch about films and share smut together.” This is a considerably more modern thought of the Net than we find in cutting edge cyberthrillers, where the Net is a spot that makes your PC beep a great deal.
Whether you will like “Jay and Silent Bob” relies on upon who you are. Most films are made for everyone. Kevin Smith’s motion pictures are either made particularly for you, or particularly not made for you.
In the event that you read this audit without a grin or a gesture of acknowledgment, I would prescribe “Surge Hour 2,” which is for everyone or no one, you let me know.
Note: The Gay and Lesbian Alliance Against Discrimination has picked the wrong focus in assaulting “Jay and Silent Bob” for asserted hostile to gay material. GLAAD ought to give gatherings of people acknowledgment for enough insight to know the contrast amongst parody and bias.
Smith consented to add a disclaimer to the end of the motion picture saying “the utilization of against gay slurs, all things considered, is not satisfactory,” as though this will (a) come as news, or (b) go about as a reminder for the individuals who use them. Be that as it may, he declined to apologize for his film, which portrays Jay and Silent Bob as “hetero life-accomplices,” and said in an announcement: “I’m not grieved, on the grounds that I didn’t make the jokes to the detriment of the gay group. I made jokes to the detriment of two characters who neither I nor the group of onlookers have ever held up to be paragons of judgment. They’re simpletons.” “Jay”