Clerks III

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names" auditioning for Randal's production may also pay mixed dividends for some. What is kind of interesting in that regard, then, is that the Stop, a production that will of course include many of the other characters who have been seen in the two previous Clerks outings. Per DP Learan Kahanov “Our main camera body was the Red Ranger (with Monstro chip), and our B cam was the Red Weapon (DSCM2).”

Audio Commentary with Writer/Director Kevin Smith, Actors Brian O’Halloran, Jeff Anderson, Trevor Fehrman and Austin Zajur obviously improvised stuff, like Justin Long's emergency room attendant, seem kind of forced and frankly not very funny. A longish montage of "big The first part of the film is arguably a bit more shapeless, with Smith spending time letting the audience get reacquainted with this motley crew of

Clerks: Other Editions

Smith does a great job of taking some real life events from his personal life and integrating them into these two characters (after all, they were both based on different aspects of Smith’s own personality) and finds a commendable balance between the emotion and the carefree fun of its predecessors. Some fans may take issue with the overwhelming emotional aspect present at times, but most should applaud it for the most part, and only a couple of brief moments within feel somewhat unnatural in how they are approached, while the rest are anything but. It’s a largely enjoyable and fitting new chapter in the series that dares to do something different and fans of the series definitely won’t want to overlook it. What’s more, Criterion—knowing that the blue color was obviously an error resulting from photochemical drift in the original film elements—fixed the issue for their own excellent 2020 Blu-ray release (see our review here)... enterprise like the two previous Clerks films have been, there's some "lump in the throat" emotion that definitely wells up as the story I love the Clerks series and consider Clerks II to be Kevin Smith's best film, so you'll understand how excited I was to see this film. Smith did not disappoint me. While the film isn't as funny as Clerks II, it is emotional. It is about friendship and about the love of film. There was a gut punch in the first few minutes that hit really hard and then that ending. Wow. I was not expecting that ending. Based on the upgrades to video capture and coloring, Clerks 3 is the sharpest and most colorful of the series by far. It’s a far cry from the grainy B&W of the original tho there are sequences that attempt to replicate that too. There is an extended sequence within the film talking about the look of the film and why B&W rules.

I have seen a lot of people complain about the "META" stuff in the film. Because Randal is making Clerks, there are a lot of scenes from that film recreated here. Not only that, but Smith was able to get most of the people to replay their parts from the original Clerks. People said that Smith was milking nostalgia. Sure, it really does look like he is, but it runs much deeper than that. The fact that he could get the original Clerks actors is kind of a miracle. Sure, it might have been easy for Smith and company to find these people, but to get them to reprise their roles must have been fairly difficult. The way that Smith uses them is less about nostalgia milking and more about the ability to get these people while also giving Smith's fan something that only they will get. Every time there was another actor from the first film, I felt a bit special because I knew who these people were. I love the Bob Hawk scene. Not only that but the original actors in this film plays into how the film in the film comes out. So, get off of your high horses and join in on the fun for once.

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Lifelong fans of the film will know, of course, that this is how the planet should look in the film. And indeed, Paramount’s 2005 DVD got the color right (albeit in 8-bit color, here’s another screen pic of the DVD)... But Mars, as many of you fellow science nerds will know, is famously know as “The Red Planet.” In truth, it’s actually more of a rusty orange color, due to the presence of actual iron oxide and rust particles in the planet’s dusty soil. This was certainly well known in the early 1950s when director Byron Haskin made the film, and in fact Chesley Bonestell—the world-renowned astronomical artist commissioned by the filmmaker to paint the planet and its landscape for the opening of the film—not only knew this, having worked with NASA and painted the planet many times by that point, in fact he did paint it correctly for the film. There’s a great documentary on the artist, Chesley Bonestell: A Brush the Future, and you can see the same shot from the film in the doc below, with Mars rendered in the correct orange color... outing also has a built in "meta" element in that a major through line of at least the second half of the film is that Randal Graves (Jeff Anderson) Dialogue heavy with a few pushes of stereo music into the sides and rears makes Atmos a bit of overkill here, but it’s still appreciated. Dialogue is crisp, clean and fun, and the song choices are always on point. Miss Sally Walk and Just Breathe really hit gut punches. As with many of Smith's offerings, and in fact now all three of the Clerks films, the humor can be hit and/or miss, and some of the