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Reviews
Now You Know (2002)
Thumbs Up!
Jeff Anderson had pretty much disappeared from movies since "Clerks" (1994) a film that had earned him a nomination for the Independent Spirit Award for Best Debut Performance. His rendition of Randall, the video-store clerk, is still considered a classic by many adoring fans. Marginal roles in small indies and cameos in subsequent Kevin Smith's films (Dogma, Jay & Silent Bob Strike Back) had done little to quench the audience's thirst for new Jeff Anderson's material. The wait may soon be over with "Now You Know", a new romantic comedy written, directed and acted by Anderson along with an interesting cast which includes Jeremy Sisto, Rashida Jones, Heather Paige-Kent and talented newcomer Trevor Fehrmon. Kevin Smith himself appears in a brilliant cameo along with his wife. In this film Anderson confirms his known abilities as an actor while displaying a surprising writing talent as well as a very confident directorial touch which is quite an accomplishment for a first-time writer/director. The film cleverly alternates elements of farcical comedy to more romantic moods achieving a good overall balance which makes "Now You Know" a film that can be enjoyed by many. This relatively low-budget film also features the added treats of a very stylish cinematography and guitar licks by Slash.
Hard As Nails (2001)
stylish, funny, dramatic
While being a true Corman flick, with his share of breasts, cliche' dialogue, super-hero cops and stereotyped foreign villains, the film still manages very strong moments and scenes of genuine emotional impact. These moments of "true" human drama are intermixed with over-the-top, sword-swinging action and adrenaline-charged martial arts sequences. The odd coexistence of typical elements of Corman's B-movies with straight in-your-face drama and subtle irony is pulled together by a stylish cinematography that, at times, seems to support the full dramatic element of the film while, often, shifts towards a cartoonish and surreal style that seems to actually negate the seriousness of the events. The film's tone, therefore, constantly shifts from truly dramatic to moments where things are purposely exaggerated and off-the wall, seemingly mocking the "noir" genre. One moment you are emotionally involved in the characters' pain, then the next scene mocks the viewer saying "it's all a big joke!". It is this clever, constant stylistic shift, combined with break-neck action, that make this film worth watching.