Jesus Christ. If there is a better "mainstream" film about the nature of American sexuality in the 1990's, I'd like to see it. This is the film to end all films. Why would anyone even attempt to make another film about relationships after this?

Smith doesn't just tell a story about a guy who falls in love with a lesbian. Every single fucking aspect of human sexuality is represented here. Name one - one - that isn't! I dare you. Gay males, lesbianism, bisexuality, straight sex, menages-tois, oral sex, anal sex, vaginal sex, beastiality, uniforms, virginity, S&M (subtly hinted at with the costumes in the comic convention), pedophilia (wisely sidestep when a guy shows a porno mag to a child), incest (again, a passing joke), repressed homosexuality... it's all here. Smith has something to say about all of it. And, wonderfully, everything the indie sweetheart has to say is right on the fucking money. It's perfect, wise, wonderful, crisp, mind- boggling, amusing and poignant.

Smith also works in all his trademarks. "Star Wars," "Jaws," comic books, hockey, New Jersey, they're all here. But his humor is so inclusive and masturbatory (in a good way) that it makes those of us who are initiated so keen on the jokes, we can't help but delight in it. I'm so glad I watched his films in chronological order. They're awesome this way. This is the way to do it. Smith self-referential dialogue and humor simply draws us in further to the story. There's the inclusion of the "drowning girl" from "Clerks" and "Mallrats." But most importantly is the appearance of Jay and Silent Bob. Mewes, still my dreamboat, and Smith portray an in-joke version of themselves that is poignant, sweet, hilarious and fun. Better yet, the scene is the linchpin to the whole bailiwicks. It makes the film hinge so delicately on what is said, it's astounding. Detractors will bitch. Let them. They're wrong. Smith may be incestuous but it works. It's the glue that binds the story up and gives us a palpable pallet.

Now, for the one small problems in the film - Ben Affleck. I'm sorry. Ben is ultimately able to make the film work but he's way out of his league here. His performance is what keeps this film from being Grade A Prime. It's what keeps it off the top 10 list of my choices for the all-time best films ever. Affleck slips into the realm of "actor" in many scenes. The worst of these is when he blurts out that he loves Joey Lauren Adams to Jason Lee at the culmination of an argument. It sucks, it's phony and it doesn't work. But Affleck redeems himself almost immediately in the next scene when he professes his love to Adams. It's one of the best fucking scenes ever to be put on celluloid. When Affleck and Adams get together and sink their chops into the scenes, it's unsurpassable. It's some of the finest work ever put on the screen.

And Adams. Well, she and Lee further prove themselves to be two of the best actors alive on the planet. Adams blows our collective mind here. It is so obvious that she is an exceptional woman, that her character is the "dream woman" for every man, gay or straight. We'd all hock our eye-teeth for a chance to meet a girl this wonderful. She's cute, sincere, honest, emotional, loving, smart, fun, charming, perfect in every way. Lee, meanwhile, plays a sort of homophobe and, even though it is obvious to us that in real life he is not like this and this is just a character, he makes it work. We don't ever hate him, even when he bandies about words like "fag," because we can see deep into him. It takes on that realm of, "I-know-he's-acting-but-he's-so-damn- good-that-I-don't-care-and-I-understand-that-he-is-not-a- homophobe-but-a-damn-fine-albeit-subtle-representation-of- one-on-screen-to-prove-a-point" kinda thing. Even though what he says is rude, it's rarely mean or hateful. And even though Smith gives him a role to play that is a tad on the obvious side, Lee makes it come to life with honesty and quality acting. The triumvirate of Lee, Adams and Affleck is so wholly wonderful as to make acting meaningless. They so overwhelmingly dominate the field in this film that, even with Affleck's flaws, they are unstoppable. It's just a joy to watch them bring forth this monumental opus on human sexuality and modern relationships.

"Chasing Amy" is one of the most brilliant stories and scripts ever to be put on film. Even without Smith's idiosyncracies, the film would be monumental. But written and made within the context of Smith's themes of males caught up in the "Peter Pan" syndrome, within the context of his filmography, within the context of his themes of repressed/latent homosexuality, it is masterful. It is the finest manifesto on modern sexual relationships ever to be put on film.

And, it's therefore no surprise that after taking on sexuality in the 90's and coming up with this perfect nugget of cinematic truth, Smith would next take on one of the most, if not THE most, taboo and untouchable topics in the American psyche: Religion.

Next comes "Dogma." Note: Also with Casey Affleck, Matt Damon, and Brian O'Halloran. Smith's sister, Virginia, who appeared in "Clerks" also appears briefly here. Scenes with Illeana Douglas were cut.

Score by Dave Pirner (Soul Asylum).

The film and Adams were nominated for several awards and won a few.

Lee's wife Carmen plays Adams' lover Kim. Smith and Adams were also dating at the time.

The names Holden and Banky are taken from the novel, "Catcher in the Rye."

Obnoxious product placement: Pete's Wicked Ale.

Credits say "Silent Jay and Bob will return in "Dogma." In their appearance in the film, the duo have tickets to Chicago, where "Dogma" is set to take place.

Bloopers: During the scene with Jay and Silent Bob, ashes appear and disappear on Affleck's pantleg. In the hockey sequence, #12's helmet is on then off then on.

Several unused scenes are shown on the DVD.

Continues the trend of paying homage to/mentioning "Star Wars," "Jaws," hockey, comic books, and John Hughes.

Released by Mirimax. Budgeted at $250,000, the film grossed over $12 million domestically.

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