Childish, puerile and obsessed with sex, radical underachievers Dante Hicks (O'Halloran) and Randal Graves (Anderson) -  the titular stars of Kevin Smith's 1994 no-budget cult favourite, 'Clerks' - are back and the last decade hasn't made them grow up any. In this sequel, Smith takes an affectionate look back at the characters that kick-started his career. Now thirtysomething, they're still working entry level jobs in New Jersey. The only difference is that they've moved their dodging off work, pop culture dissections and politically incorrect scatological obsessions down the road from the Quick Stop convenience store setting of 'Clerks' to a soulless fast food joint called Mooby's.

An actual budget - ie this time round Smith didn't have to max his credit cards out to make the film - means that 'Clerks II' is shot in colour and even has some semblance of a plot. It's the last day at work for an engaged Dante who is about to move to a new life in Florida with his hot but very domineering fiancée (Smith's wife Schwalbach). This means that Randal will be left behind in New Jersey, to torment the customers and innocently dim co-worker Elias (a lovable Fehrman) with involved, pointless debates about film trilogies - 'Star Wars' versus 'The Lord of the Rings' - religion, 'Transformers' and Anne Frank/Helen Keller mix-ups. Dante should be thrilled with his golden get-out ticket but there's a complicating factor; he's got more than employee-type feelings for their boss, Becky (the gorgeous Dawson).

Throw in the reappearance of Jay (Mewes) and Silent Bob (Smith), fresh out of rehab but still dealing, as the cornerboy slacker chorus; a truly amazing, and very un-Smith-like, exuberant musical number set to The Jackson Five's 'ABC'; a going away party involving "inter-species erotica" aka donkey sex and the culmination of a touching romance - between Dante and Randal, that is - and you've got another Smith-style quirky universe that is bound to be quoted from and loved by dossers everywhere. Unashamed nostalgia, and funny with it.

Caroline Hennessy