Make a cheapie but cool indie film, get Universal to give you millions and still come away with an interesting film. Sure, it's probably a failure, but "Mallrats" has a lot going for it. It may not be as clever and as amusing as "Clerks," but it has a sort of glitzy charm.

Filmed in a mall as opposed to a convenience store, the film has several now-familiar faces in it. At the time, only Shannon Dougherty ("90210") was well-known. Jason London has since made his mark. I'll always remember him as the cutie who made "Too Wong Foo" so magical. And here he's just as cute and as charming. Also in my good graces, is Jason Lee. This guy is a rock star. He just has "it," whatever it is. His personality leaps off of the screen. We love every moment of him here. He saves Smith's ass throughout the film. Joey Lauren Adams is a real charmer too. She's going to be huge. I mean mega-huge. She is just waiting to bust. Rene Zellweger wishes she had one-zillionth of the sweet charm that Adams does. Claire Forlani. Well, okay... one bad apple don't spoil a whole bunch a girls, as the song goes.

Of course, by now, I am head over heals in love with Jason Mewes (as Jay). When he latches his legs around Smith's Silent Bob and they rise via "bat-rope" into the heavens in a loving embrace, I'm sorry, it reaffirmed every homosexual fantasy I ever had about long hair rocker boys since I was 12. Mewes is just so fucking cute. I can't stand it.

And what's up with Smith's sometimes not-so-subtle homoeroticism? There is an (almost) pointless scene where Lee embraces London, describing how lovers sleep, that is just wonderfully unusual. Is Smith making a comment on the sexual ambiguity of males in the 90's? Is he latent? Is it a comment on the emasculation of males in the 90's. Is it a comment on male sexuality in the 90's. Or is he just exceedingly secure in his masculinity. What is it? What does it mean? I am slightly in awe of this aspect of his movies. It means a lot to me to see seemingly heterosexual males so comfortable with the physicality of homoerotic moments with other males. It tinges Smith's films with a delicate notion that anything can happen. If Lee and London walked away as lovers at the end of the film, would it be any less satisfying?

Of course, oddly, Smith can be just as rude in this arena. "Clerks" had several negative references to "cock smokers" and such. "Mallrats" has a brief prison sequence that hints at an anal rape of a male. Does Smith's subtle weird homoeroticism excuse his stereotypical negative banter? Perhaps it is his idea to comment on this aspect of masculinity in the 90's while juxtaposing it with a gentle loving touch that makes us secretly realize that his humor is harmless. He means no offense. His dicks and shit jokes aren't to shock or offend. Like Vonnegut, his language is a reflection of society; Not an attempt to defy convention or slur, but rather, to expose life's truer nature.

Speaking of askew maleness, Smith continues his incessant references to "Star Wars" making him a true enfant terrible. This coupled with the hockey and Marvel Comics references makes for some interesting commentary of 90's male infatuation with trivia and trivial matters (fantasy). Surely this is a loving nod from Smith to his own interests, but also a wonderfully subtle comment on the typical 90's male psyche, so muddled and focuses on inconsequential things, they are unable to concentrate on important matters, like relationships and their female partner's needs. Smith seems obsessed with the modern males incapability to rectify his masculine trivial interests with his place in modern relationships. Again, tapping subtly to homosexuality, Smith's characters are almost unable to come to terms with their place in male/female relationships arena. This "Peter Pan" syndrome of males unable to grow up and become adults is also akin to the "Peter Pan" syndrome in some homosexual males. Smith's male characters bond incessantly with other males, unable to glean the modern female (sexuality), the modern workplace (commerce), or the modern world (life). Avoiding responsibility, real relationships and/or real work, they become lost. Oddly, and beautifully, in Smith's world, it is usually the loner, the loser, the freak, who points the more typical male in the direction of responsibility and a female's loving embrace.

As a work in hindsight, "Mallrats" is a sophomore jinx film. No matter what Smith did, especially with a big budget, he would be dissed by fans and foes alike. But looking objectively, "Mallrats" has a lot to offer. If nothing else, it softens Smith's appeal to a more mainstream crowd. And since his messages of gentle sexual humor and his subtle, insinuated, acceptance of diversity can only be viewed as a good thing, "Mallrats" must be viewed as a good thing as well. Knowing his next film, "Chasing Amy" has a lesbian theme, only convinces me further that Smith's agenda, other that to comment on 90's sexuality in a humorous way, is to promote acceptance of diversity. And to expose himself as comfortable with all areas of sexuality. It's a message those frat boys need to hear. Notes: With an extended cameo by Marvel Comics impresario Stan Lee. Also with a chubby Ben Affleck, a topless Priscilla Barnes, and a shaven-headed Michael Rooker.

The character names Brodie and Quint (Lee and London) are references to "Jaws."

Universal continually wanted to replace Mewes throughout preproduction.

Elevator music here is the same used in a scene in "The Blues Brothers."

In the credits Smith thanks John Landis and John Hughes for their work.

After several unusual credits, the final title reads: Jay and Silent Bob will return in "Chasing Amy."

Filmed in Minnesota. Flea Market sequence filmed in New Jersey.

At a cost of $6 million, the film made only 2 million on it's initial domestic release by Universal/Gramercy.

The DVD version contains almost an hour of alternate scenes including an opening sequence where T.S. meets Brandi on the roof of her house.

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