ATLRetro

Lucas Hardwick
Contributing Writer

Welcome to Apes on Film! This column exists to scratch your retro-film-in-high-definition itch. We’ll be reviewing new releases of vintage cinema and television on disc of all genres, finding gems and letting you know the skinny on what to avoid. Here at Apes on Film, our aim is to uncover the best in retro film. As we dig for artifacts, we’ll do our best not to bury our reputation. What will we find out here? Our destiny.

MALLRATS – 1995
3 out of 5 Bananas
Starring: Jason Lee, Jeremy London, Shannon Doherty, Claire Forlani, Ben Affleck, Jason Mewes, Michael Rooker
Director: Kevin Smith
Rated: R
Studio: Arrow Video
Region: 4K UHD Region Free
BRD Release Date: June 27, 2023
Audio Formats: English: DTS-HD Master Audio 5.1 (48kHz, 24-bit)
Video Codec: HEVC / H.265
Resolution: Native 4K (2160p)
Aspect Ratio: 1.85:1
Run Time: 94 minutes
CLICK HERE TO ORDER

Lucky for director Kevin Smith, a slew of big-name critics mined a wealth of cultural commentary and social subtext in his first film CLERKS. The critical success of the director’s first movie placed him in front of major studios looking to cash in on this new cultural firebrand. And while, yes, CLERKS does manage to muster some kind of then current subtext on commerce and the grind of the middle class, Smith has all but admitted that it wasn’t intentional. Inspired by Richard Linklater’s strangely paced film SLACKER, that follows one oddball conversation to the next and never returning to any kind of plot, Smith set out to basically borrow Linklater’s energy with CLERKS. For what it’s worth, a middle-class fanboy with a passion and a lot of free time, made out pretty damn good. CLERKS is indeed an entertaining and culturally relevant success that has aged relatively well in spite of its ramshackle style.

So, when the big studios came calling, Smith went with what he knew worked and essentially set about making the same movie that had earned him so much acclaim. Except this time, success was not in the cards. MALLRATS shapes up to be a mild revision of the characters in CLERKS, but set in the larger, more culturally pervasive environment of the American shopping mall. One could draw a parallel to George Romero’s zombie sequel with DAWN OF THE DEAD, stating that all roads lead to commerce, and what better spot to showcase such than the mall. At any rate, lightning did not strike twice for Kevin Smith; at least not at first.

Motormouth ersatz comic book scholar Brodie (Lee) and his pal T.S. Quint (London – a nod to Robert Shaw’s Quint from JAWS?), take their broken hearts to the mall to ease the forlorn burdens they’ve recently suffered and plot their way back into love with the women who’ve recently abandoned them. As the two mosey about the mall bumping into a cast of dynamic, hilarious characters they each have some narrative connection to, in the background is the impending taping of the cable access game show “Truth or Date” where T.S.’s now ex-girlfriend Brandi (Forlani) is the date-seeking contestant. It becomes the boys’ mission to infiltrate the show and win back lost loves in a grand show of affection and shocking revelation.

Financed by Universal Pictures’ new indie film division Gramercy, Smith had a new element breathing down his throat that he never had to contend with on CLERKS: major studio interference. While Universal/Gramercy prided itself on the conceit and the artistic notions of the independent filmmaker, it wanted to have its cake and eat it too, demanding Smith make compromises that likely affected the reception of the film. The most significant accommodation forced Smith to omit a fourteen-minute bit of exposition that laid down why the main character Quint is so loathed by his girlfriend’s father Mr. Svenning (Rooker). And while the studio sought the opportunity with Smith to make “a smart PORKY’S,” they also wanted to cut down on the foul language. Gramercy lobbied for big name stars and sought to recast Mewes’ iconic “Jay” character, the real heart of the film’s puerile comedy, with the likes of Seth Green. Though the studio was not successful, it’s clear that Smith and his bosses had different intentions. All this and a troubled marketing campaign arguably lead to a failed second feature for the director.

We’ve seen the plot of this film a million times, so the movie’s charm and reason to watch lies within its characters. Smith provides a range of smarmy youths with whipcrack language so sodden with post adolescent wit that it could only ever have the advantage of being written. While admittedly juvenile, Smith’s dialogue is at times hilarious and often helped by the actors’ performances, the strongest of which is Jason Lee who delivers most believably. The weakest of the gang is Jeremy London who rattles off Smith’s overwrought lines too fast and never more convincingly than a community theatre audition.

MALLRATS is more character study than anything, and remains as a glimpse into the youth of the 1990s. Time alone has built the success of the film more than any marketing campaign or opening weekend box office. And speaking as someone who came of age seeing this film within the decade it represents, subtext, context, and all that stuff you learn about in film class falls second to the lovable, relatable characters and the chemistry they concoct on screen.

Over the years, Smith’s energy and wit has been replicated to the point of exhaustion, saturating films up to and including the Marvel Universe with his brand of cross-reference and humor. In a career-defining meta move for Smith, Stan Lee who makes a notable cameo in MALLRATS can even be found in Disney/Marvel’s 1990s set CAPTAIN MARVEL rehearsing his lines for his appearance in this film – Marvel nerds can bounce around and hyperventilate about how MALLRATS is now technically canon within the MCU. In spite of the director’s bouts of mediocrity outside of his “Askewniverse” (named for his production company View Askew, that consistently features Jay (Mewes) and Silent Bob (Smith) amongst other recurring characters), Kevin Smith is less a filmmaking influence than he is an unstoppable cultural bellwether.

Arrow Video presents MALLRATS on 4K UHD Blu-ray disc with loads of special features including a wordy introduction from Smith; Theatrical and Extended cuts of the film; a commentary with Smith, his producer and stars; a number of interviews; deleted scenes; archival materials; and Erection of an Epic: The making of Mallrats documentary. Arrow’s release also features an illustrated booklet with writing by film writer Philip Kemp and a fold out poster of replica blueprints for “Operation Drive-by” and “Operation Dark Knight” plotted by Jay and Silent Bob in the film. The disc comes packaged in a reversible sleeve of original and newly commissioned artwork by Robert Sammelin.

MALLRATS’ success in 1995 is irrelevant. While it was a critical and financial failure, it remains a cult hit that lives on to be quoted and referenced to this day. A time capsule of a dying brick and mortar institution of commerce, MALLRATS remains steadfast as an exemplar of the tyranny of nostalgia as a personal museum exhibit for a specific group of people from a specific time within their generation. Recommended.

When he’s not working as a Sasquatch stand-in for sleazy European films, Lucas Hardwick spends time writing film essays and reviews for We Belong Dead and Screem magazines. Lucas also enjoys writing horror shorts and has earned Quarterfinalist status in the Killer Shorts and HorrOrigins screenwriting contests. You can find Lucas’ shorts on Coverfly. Look for Lucas on Twitter, Facebook, and Letterboxd, and for all of Lucas’s content, be sure to check out his Linktree.

By Andrew Kemp
Contributing Writer

James Gunn’s GUARDIANS OF THE GALAXY VOL. 2 is now filming in Atlanta, and last week’s Atlanta Film Festival took advantage by booking a screening of the original GUARDIANS movie with a Q&A after with Gunn and actor Michael Rooker. If you heard about this event, it may have been in context of the grumpy final exchange between Gunn and a fan who asked Rooker if his GUARDIANS character, Yondu, was a just a copy of his racist redneck Merle from THE WALKING DEAD. But prior to that hiccup, the Q&A had been a lovefest between Gunn, Rooker and a roomful of appreciative fans. Here are some highlights from the rest of the session:

Gunn on taking the time to do the Q&A: “One of the reasons we wanted to come do this today is because, really, Atlanta has treated us really, really well so far. We have an amazing crew, many of whom are from Atlanta; the majority of them are from Atlanta. And it’s nice to be able to come and do something with you guys and give a little thanks for what you guys have given us. So we really just appreciate being here, and really the hospitality of the city in general. “

On GUARDIANS 2: “It’s been a lot of hard work, honestly. It’s a much bigger film. Also at the same time, a much more intimate film, more character-driven in certain ways, so it’s just a lot of work. And everybody has been on their game. The new cast members… Kurt Russell has been incredible. And Pom Klementieff… who plays a new Guardian has been just, she blows me away. She’s really been perfect.”

On directing actors: “It’s kind of like going through a dark cave and you’re looking for those moments of truth, which means that you’re kind of working together , you’re holding hands, you can’t always see exactly where you’re going, but you’re trying to find those true moments. So that often means that I’m having people do things again and again and again and again and again.”

On moving from indie films to blockbusters: “I don’t think I was ever scared of the scope. I feel like I’ve always wanted to do huge movies, so I think that I’ve always been working towards that. I’ve always been afraid of ‘are people going to like the movie,’ ‘is the movie going to make money?’ There are times on the first movie where I’d wake up at 3 a.m. and go ‘Oh no, am I making PLUTO NASH (2002)?’”

Rooker on people dressed up as GUARDIANS characters: “It’s better if they’re undressed.”

Gunn joking about Rooker: “We’ve done four movies, two webseries, two reality shows, a video game… it’s really my penance for my success. He is the cross I carry on my back. ‘OK, you can have all your dreams and your money and whatever, but you have to work with Michael Rooker.’”

Rooker on acting with pop songs: [After Gunn describes playing the pop songs on set as they’ll appear in the film] “It’s going, the music’s going. And then you hear ‘action.’ But by the time you hear ‘action,’ you’re already into the music. I’m telling you, it’s so hard to not bop along.”

Gunn on convincing the studio to hire Rooker: “There were a couple of people I had to fight for on the first movie. I had to fight for [Rooker] real hard and I had to fight for Dave Bautista. It was an uphill battle….Especially because you have these guys who are, like, 50ish year old guys, there’s a lot of them, a lot of really big actors around that age that would die to be in a Marvel project. So he’s not just auditioning against all of these other no name actors, they have to trust me to hire him over a bunch of A-list actors or guys who are just out of being A-list actors. So that’s what they had to put faith in.”

Gunn on Rocket Raccoon: “Rocket is my inner child. The whole movie to me was based on Rocket. Marvel came to me with this movie, I thought ‘you guys are crazy,’ this sounds like an insane idea. I was driving home from the meeting and I’m like, ‘OK, let’s say there was really a talking raccoon. How would that exist? And it was really that scene is everything, GUARDIANS was built out of that, so I have a very strong emotional connection to Rocket…. Rocket is really a combination of a lot of people. I write the character. My brother Sean does all the acting on set. Bradley [Cooper] comes and does the voice. We have a whole team of animators who help with the acting there. So there’s a lot of control I have, a lot more attachment to Rocket and to Groot in that respect.”

On SUICIDE SQUAD (2016) and other movies emulating GUARDIANS’ humor: “If it’s sincere, I think that’s great. For me, honestly, the reason why GUARDIANS was successful, and I believe the reason a movie like DEADPOOL (2016) was successful is because we really are sincere about it. This is the real stuff. Everything in this movie is something I believe in. I believe in those characters. Some people think I’m crazy. Because I love that raccoon. I mean, as much as I would love my own child. Really, it’s a little bit insane. But I love those characters so much, and I love that story so much, and I love that I was a kid that was not a normal kid and felt very alone. And luckily I had some artists out there, who I could listen to their music or watch their films, whether it was David Cronenberg movies or Alice Cooper’s music, where I thought ‘goddamn I’m not the only weirdo in the world.’ And to be able to make a movie that speaks to those people, that speaks to people that feel like they’re alone or like they’re outcasts or that don’t have friends or have screwed-up families and need that connection with other living beings, that they can feel some small part of that through seeing GUARDIANS, that is why I make the movies. And that is the only reason I make them.”

Andrew Kemp is a screenwriter and game designer who started talking about movies in 1984 and got stuck that way. He can be seen around town wherever there are movies, cheap beer and little else.