If you need yet another sign of how impossible it’s become to separate the public persona of Kevin Smith from his films, look no further than the posters for Red State proclaiming it “AN UNLIKELY FILM FROM THAT KEVIN SMITH,” as if the film were actually directed by the man’s prolific Twitter account. In the last few years, the funny, profane voice that’s made Smith’s dialogue so distinctive has essentially outgrown the films that used to showcase it, as Smith’s podcasts, his sometimes pugnacious social media feed and his speaking tours have made any cinematic output all but beside the point. When he made a splash at Sundance in January premiering his latest work Red State, it was more for the live auction he was reportedly going to hold to sell distribution rights after the screening than for the film itself.
I first reviewed Red State at that festival for another site, and mused at the time, not long after Smith had offered up a metaphorical middle finger to the press and industry, “There are a lot of lovely, very nice people who’ve made lousy movies, and vice-versa. If Red State were good, it’d hardly be the first time an asshole had turned out a worthy work of art or entertainment.” I didn’t think it was good. Eight months later, with the film finally getting a release on VOD and in theaters, it seemed worth a revisit to see if that opinion had been shaped in any way by Smith’s…
Adrianne Curry Adrianne Palicki Aisha Tyler Aki Ross Alecia Elliott Alessandra Ambrosio Alexis Bledel
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