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Theatrical Release InformationEditorial Reviews
Amazon.com
This oddball sequel to Smoke is less a sequel than a free-wheeling companion piece. Filmed by Wayne Wang and Paul Auster the week after they finished Smoke, the idea was to create a wholly improvised film, using the same characters from the first and a few new ones. The challenge was to improvise scenes that would keep the characters talking and interacting for 10 minutes at a crack--the length of a magazine of film. Some of it works well, some less well, but some of it is pure gold (though there is no real story, per se). Among the highlights: Jim Jarmusch as a guy who is about to quit smoking, waxing eloquent about why he loves cigarettes; rocker Lou Reed discussing his various philosophies on life in hilarious deadpan; a few disquisitions on the joys of Brooklyn; and, if you can believe it, a love scene between Harvey Keitel and Roseanne. --Marshall Fine
From The New Yorker
Wayne Wang and Paul Auster's low-budget movie presents itself as a loosely organized sketchbook of neighborhood life in Brooklyn-a collection of doodles in the margins of "Smoke" (which Auster wrote and Wang directed). One of the earlier film's stars, Harvey Keitel, and several of its supporting actors play improvised skits with a bunch of celebrity drop-ins, among them Michael J. Fox, Lily Tomlin, Jim Jarmusch, Roseanne, and Madonna. The movie also includes interview footage, little documentary essays on Brooklyn lore, and a musical number or two-oddball stuff that the filmmakers combine with the salvageable fragments of improvisation in a deliberately messy, random-seeming assemblage. The pointlessness would be vastly more appealing if Wang and Auster didn't make such a point of it. Also with Lou Reed, who-playing himself and speaking directly to the camera-is the weirdest, funniest character on the screen. -Terrence Rafferty
Copyright © 2006 The New Yorker
This oddball sequel to Smoke is less a sequel than a free-wheeling companion piece. Filmed by Wayne Wang and Paul Auster the week after they finished Smoke, the idea was to create a wholly improvised film, using the same characters from the first and a few new ones. The challenge was to improvise scenes that would keep the characters talking and interacting for 10 minutes at a crack--the length of a magazine of film. Some of it works well, some less well, but some of it is pure gold (though there is no real story, per se). Among the highlights: Jim Jarmusch as a guy who is about to quit smoking, waxing eloquent about why he loves cigarettes; rocker Lou Reed discussing his various philosophies on life in hilarious deadpan; a few disquisitions on the joys of Brooklyn; and, if you can believe it, a love scene between Harvey Keitel and Roseanne. --Marshall Fine
From The New Yorker
Wayne Wang and Paul Auster's low-budget movie presents itself as a loosely organized sketchbook of neighborhood life in Brooklyn-a collection of doodles in the margins of "Smoke" (which Auster wrote and Wang directed). One of the earlier film's stars, Harvey Keitel, and several of its supporting actors play improvised skits with a bunch of celebrity drop-ins, among them Michael J. Fox, Lily Tomlin, Jim Jarmusch, Roseanne, and Madonna. The movie also includes interview footage, little documentary essays on Brooklyn lore, and a musical number or two-oddball stuff that the filmmakers combine with the salvageable fragments of improvisation in a deliberately messy, random-seeming assemblage. The pointlessness would be vastly more appealing if Wang and Auster didn't make such a point of it. Also with Lou Reed, who-playing himself and speaking directly to the camera-is the weirdest, funniest character on the screen. -Terrence Rafferty
Copyright © 2006 The New Yorker
