Jay And Silent Bob Strike Back 2001

Glenn Lovell, San Jose Mercury News: A low-brow comic masterpiece with something to tickle and offend everyone. Read more

Terry Lawson, Detroit Free Press: [Smith's] funniest movie yet. Read more

Rene Rodriguez, Miami Herald: The equivalent of a comedian emptying his junk drawer of every stray joke and gag he never found a place for, the movie is sloppy and scattershot, and proud of it. Read more

Mark Caro, Chicago Tribune: Will likely be incomprehensible in 50 years and wouldn't make much sense now to anyone not steeped in the world of movies, particularly Smith's. Read more

Ebert & Roeper: Read more

Melanie McFarland, Seattle Times: Skeptics who take a chance on this flick, beware. You may noticeably feel 98 minutes of your precious life force being sucked from your marrow and, oh, how you'll miss those lost moments! Read more

Gary Dowell, Dallas Morning News: A master of the medium shot, [Smith] plops his camera down and records reel after reel of amateurish visuals and partially realized high concepts held afloat by puerile geek humor. Read more

Elvis Mitchell, New York Times: Like The Blues Brothers, this film has a ridiculous conceit that doesn't quite work. Read more

Jan Stuart, Newsday: A dumbfounding, cameo-peppered road comedy that demeans everyone associated with it. Read more

David Edelstein, Slate: I admit to enjoying -- in a drunken, half-asleep kind of way -- parts of this ramshackle road movie with its running Miramax guest stars and its endless homo jokes. Read more

Steve Murray, Atlanta Journal-Constitution: A raunchy blast that's as smart as it is dumb. Read more

Kevin Thomas, Los Angeles Times: The relentless torrent of foul language--and not just from Jay--becomes numbing and finally makes the film seem more crass than amusing. Read more

Eric Harrison, Houston Chronicle: Unlike, say, American Pie 2 or the Scary Movie franchise, there's obvious intelligence at work behind the stupidity. Read more

Owen Gleiberman, Entertainment Weekly: Smith, coming off the madly audacious Dogma, knows that he's slumming this time and revels in it. Read more

Liam Lacey, Globe and Mail: Not clever enough for Smith fans, not gross enough to compete on the Farrelly brothers' ground, the movie feels like a kind of self-congratulatory fake. Read more

James Berardinelli, ReelViews: Uneven, and likely only to satisfy the Faithful. Others will find it sporadically amusing, but not worth the full price of admission. Read more

Roger Ebert, Chicago Sun-Times: Kevin Smith's movies are either made specifically for you, or specifically not made for you. If you read this review without a smile or a nod of recognition, I would recommend Rush Hour 2, which is for everybody or nobody, you tell me. Read more

Stephanie Zacharek, Salon.com: The movie dribbles and drags in patches, which is supposed to be OK since it's stoner humor, but Smith has it in him to do much better. Read more

Wesley Morris, San Francisco Chronicle: In addition to being [Smith's] filthiest, this is his most free-associative movie. In spite of and because of its homemade look, it's also his funniest. Read more

Peter Howell, Toronto Star: This ramshackle affair unspools like a bloopers reel of stag-party outtakes culled from Smith's four previous movies: Clerks, Mallrats, Chasing Amy and Dogma. Read more

Geoff Andrew, Time Out: The perfect curtain call for these much-loved, wise but oh so stupid slackers. Read more

Mike Clark, USA Today: After the agony of sitting through American Pie 2 and Rat Race within a week of each other, it's gratifying to see a comedy can have no redeeming social value yet be full of hearty laughs. Read more

Scott Foundas, Variety: Has the lazy, bric-a-brac atmosphere of one of those blown-off movies made during down time on some bigger affair. Read more

Michael Atkinson, Village Voice: Since Smith's Bob is indeed speechless, Mewes dominates the new movie, and after an hour it feels like a woodchuck is chewing on your brain stem. Read more