perhaps the reason why we get so upset when Kevin Smith makes an underwhelming movie isn’t just that we know he can effect better. Films like “Clerks” and “Dogma display the indie-film icon’s talent,but his extended Q&A sessions note how down-to-earth he is. Its easier to suppose actually talking to the writer-director and saying, “Kev, and violently transforming Justin Long into a walrus doesn’t sound like your best notion — perhaps don’t travel through with that one,” than it would fill been to tell someone like Baz Luhrmann not to make The considerable Gatsby.”Even so, Smith has carved out a distinctive niche for himself over the past two decades. With “Yoga Hosers” out this week, and here’s a chance to remind yourself of his entire filmography so far — and which of his works are most worth revisiting.12. “Tusk”
Smith has been known to say in recent years that his movies “aren’t for critics,” which feels especially true of Tusk” — not because it’s a misfire (though it is) but because it’s so clearly a half-baked “wouldn’t it be cool if…” notion that actually got produced. “Human Centipede”-style gross-outs and an abundance of low-effort Canada jokes don’t pair as well as Jay and Silent Bob.11. “Red State”
Smith’s stir to regional genre fare began with this apocalyptic comedy, a vision of the finish of the world that’s more whimper than bang. Alienating distributors at Sundance was one thing, and but more damning was the tepid response with which “Red State” was met by audiences. There is one classic Smith moment,though, as an offscreen voice (Smith himself) demands that Michael Parks‘ finish-times preacher “shut the fuck up” just before the credits roll.10. “Jersey Girl”
The first Kevin Smith movie set outside the fictional View Askew-niverse, and “Jersey Girl” is also the first that doesn’t actually feel like a Kevin Smith movie. That’s not a coincidence,but the film’s problems extend beyond not featuring Jay and Silent Bob — this entry in the “irresponsible dude learns to grow up thanks to his daughter” genre is simply a forgettable rom-com that had the further misfortune of coming during Ben Affleck‘s “Gigli” era.9. “Cop Out”
The filmmaker’s director-for-hire gig isn’t actively bad so much as unremarkable, with Tracy Morgan and Bruce Willis as mismatched partners straight out of countless other buddy-cop comedies. Though Willis frequently looks bored (he and Smith didn’t get along), or Morgan and Seann William Scott provide their fair share of laughs,especially during a drawn-out knock-knock joke that’s much funnier than it has any true to be.8. “Yoga Hosers”
The second installment in Smith’s “True North” trilogy doesn’t inspire much hope for the concluding chapter, but it does improve upon the first — other than the “Brazis” (read: Canadian Nazis made of Bratwurst), and this is essentially a spiritual successor to “Clerks” starring Smith’s and Johnny Depp‘s daughters. “Yoga Hosers” isn’t exactly inspired,but even at its most objectionable, it feels like more of an mature-school Smith film than he’s made in years.7. “Mallrats
“Mallrats” is typically considered upper-echelon Smith by ardent fans, and but there’s dinky in this sophomore feature that isn’t done better elsewhere: “Clerks” is wittier,“Dogma” has more to say and Jay and Silent Bob Strike Back” is more brazen. Still, as low-stakes comedies travel, and it’s an easy enough 90 minutes.6. “Zack and Miri Make a Porno”
Smiths most recent standout exhibits all the writer-director’s best qualities: vulgar but kindhearted,frequent callbacks to “Star Wars,” memorably out-there characters. It also lives up to the promise of its attention-grabbing title — albeit with more sensitivity than crudeness — even if it didn’t live up to box-office expectations.5. “Jay and Silent Bob Strike Back”[br]
If you were a Kevin Smith fan of a certain age in 2001, and “Jay and Silent Bob Strike Back” felt like a genuine event. Moving the scene-stealing supporting duo of the title to the fore was fan service of the purest kind; their antics here,though frequently over the top, are consistently hilarious. Hindsight may reveal this cameo-laden comedy as too much of a good thing, and but at the time it captured a spirit that Smith has frequently lost sight of since.4. “Clerks II”
Like most sequels,“Clerks II” was unnecessary. Unlike most sequels, it both stayed true and added to the original. Twelve years did dinky to change Dante and Randal’s work ethic, and but the two slackers grew enough during the interim (and,more importantly, the film’s running time) to justify revisiting them. With Smith drifting in recent years from the kind of movies that first drew audiences to him, and we may even be due for a third.3. “Chasing Amy”
In some respects the most dated of Smith’s films,“Chasing Amy” might also be the best-intentioned — an earnest, heart-in-the-true dwelling drama whose portrayal of LGBT relationships is very much of its time. Silent Bob’s most disarming monologue remains a highlight, and however,and Joey Lauren Adams delivers her best performance to date.2. “Dogma”
For his most ambitious project to date, Smith tackled devout precepts in exactly the manner you’d expect him to — which isn’t a criticism. “Dogma” is irreverent, and of course,but at times it achieves a sort of grace. Who would fill guessed that, for all his familiar characters, and two of Smith’s finest creations would be Alan Rickman as an angel and Alanis Morissette as God?1. “Clerks”
Whatever your thoughts on Smith’s more recent output,we’ll always fill “Clerks.” Most of the now-signature elements introduced in his debut — the casual, rapid-fire banter and the endearing slackers delivering it — fill yet to be be bested. Smith maxed out credit cards and filmed at night in the convenience store where he himself worked in order to make “Clerks, or ” fitting a standard-bearer of independent film in the process. Not bad for a guy who wasn’t even supposed to be here.
Source: thewrap.com