Film Review – The 4:30 Movie

September 17th, 2024 | POSTED BY Allen Almachar

It’s been a long time since Kevin Smith burst onto the scene as part of the American Independent New Wave of the 1990s. In films like Clerks (1994), Chasing Amy (1997), and Mallrats (1995), Smith became a voice for a very specific subset of Generation X.  His ruminations over relationships, comic books, movies, and the malaise of day-to-day Americana had the articulation of a streetwise philosopher. It’s no surprise that he garnered a small but passionate fanbase. Well, time has moved on, and that fanbase (as well as Smith himself) have settled comfortably into middle age. Unfortunately, much of his later work has not caught up – stuck in a perennial slacker mentality.

The 4:30 Movie (2024) displays both the qualities that made Smith a young and promising newcomer, but also the issues that prevented him from expanding his artistic range. Once again, we see him revisiting the themes that have dominated his entire career. Unlike his previous forays into this material (such as Zack and Miri Make a Porno and the three Clerks films), Smith dials the scatological humor way back. This is a more grounded, down to Earth story. Smith wears his heart on his sleeve, returning to his 1986 New Jersey roots. It’s obvious that Smith adores his home and the various people and places that shaped who he is. This time, his perspective comes with age and experience, adding an extra layer of appreciation.

But does that make for a good movie? Smith renders The 4:30 Movie with such heavy nostalgia that everything we see on screen appears to be a dream. The cinematography (Yaron Levy) doesn’t just bathe images in a hazy golden hue – it drowns them in it. The haze never goes away. Bear McCreary’s music replicates the heavy synth sounds of the time, accompanied by several pop songs playing in the background. The costuming, make up, and production design replicate the era well, but they take a backseat to how overwhelming the lighting is. This is particularly evident during outdoor scenes. Whenever two characters are having a conversation, the lighting makes them look nearly ethereal. It’s one thing to enjoy reminiscing about one’s past, but the way that idea is translated on screen looks like a John Hughes film taking place in the afterlife.

Smith’s surrogate is Brian David (Austin Zajur). Brian is a high school teen who has had a big crush on Melody (Siena Agudong), who is one grade below him. Previously, Brian had a chance at romance with Melody, but his hesitation ruined the crucial moment. Hoping to pick things up where they left off, Brian invites Melody to the 4:30pm showing of the movie “Bucklick” at their local theater (hence the title). But before the big date can take place, Brian, along with his buddies Burny (Nicholas Cirillo) and Belly (Reed Northrup) decide to play hooky and spend the entire day at the theater themselves. Not only does the prospect of Brian bringing Melody into his friends’ circle disrupt the social order of things, but they also all must contend with the narcissistic theater manager (Ken Jeong) who is more than willing to kick them out for even looking at him funny.

The central point of tension involves Brian’s attempts to get back into Melody’s good graces. Unfortunately, that dynamic is not developed well enough. In fact, Melody is too thinly drawn to make a memorable impression. The majority of her screentime happens in the beginning and end – she disappears for nearly the entirety of the second act. In reality, the main story focuses on the relationship between the three male friends. Just as he has done in the past, Smith shows his biggest fixation as a writer is on the camaraderie between male characters. This is best exemplified in the back and forth between Brian and Burny. Where Brian is more passive, Burny is assertive. Where Brian is an introvert, Burny is a macho extrovert. They represent two sides of a coin – in how they view life, what it means to be “a man,” and their interactions with the opposite sex.

Things really click when Smith stays with his young performers. They have solid chemistry and Austin Zajur makes for a good anchor tying everyone together. Sadly, Smith’s loyalty to his friends and insistence on recycling old comedic bits hinders The 4:30 Movie from really taking off. The abundant cameos – from the likes of Justin Long, Rosario Dawson, Jeff Anderson, Ming Chen, Method Man, and more – are a distraction. They do not add any significance other than being a familiar face for us to point out. Much of the dialogue pulls from previous Smith films or aims for the lowest hanging fruit. Since this is set in 1986, Smith includes tongue-in-cheek jokes about how the Star Wars franchise would never produce Episodes 1, 2 or 3 after the release of Return of the Jedi (1983). The worst joke covers Bill Cosby – who was a major star back then – and how there is no way his fame could be tainted by scandal. Ha……ha.

The middle portion of film takes a big tangent away from Brian and Melody’s relationship. In its place is a long sequence dedicated to Smith’s love of movies and the theater going experience. One of the more interesting choices happens inside the theater (filmed at Smith’s own “Smodcastle Cinemas”) where the boys watch a set of movies and movie trailers. The best of the bunch is a grindhouse style trailer for “Sister Sugar Walls” starring Smith’s daughter, Harley Quinn Smith. Harley Quinn plays a nun who – to feed the hungry kids of her orphanage – becomes a sex worker. This sequence gets the biggest laughs, and based on what little we get, might make for a movie worth watching (not too dissimilar to what Eli Roth did with Thanksgiving).

I wouldn’t go so far to say that The 4:30 Movie is a great film, but it is a good one. It has its rough edges. Not all the jokes work, the emotional and dramatic stakes are low, and the insights on love and life are not exactly eye opening. But what it does have is a ton of affection. We sense that every moment (good or bad) comes from a personal place. That earnestness does a lot of heavy lifting, making this a much more palatable experience compared to Smith’s other, less successful undertakings. Watching this was like reuniting with an old friend, cracking open a case of beer, and recalling the good old days. 

Austin Zajur, Bear McCreary, Bill Cosby, Chasing Amy, Clerks, Eli Roth, Harley Quinn Smith, Jeff Anderson, John Hughes, Justin Long, Ken Jeong, Kevin Smith, Mallrats, Method Man, Ming Chen, Nicholas Cirillo, Reed Northrup, Return of the Jedi, Rosario Dawson, Siena Agudong, Thanksgiving, The 4:30 Movie, Yaron Levy, Zack and Miri Make a Porno