Starring: Ben Affleck, Liv Tyler, George Carlin, Raquel Castro and Jennifer Lopez

"Jersey Girl" proves what a lot of View Askew fans knew all along. Behind all the dick and fart jokes, Writer/Drirector Kevin Smith is just a big old softy. His latest is a heartfelt dramatic comedy about a Manhattan hotshot (View Askew mainstay Ben Affleck) who exits the fast lane when his wife (Jennifer Lopez) dies giving birth. He returns to his New Jersey hometown to raise his daughter with the help of his gruff but lovable pop (George Carlin in full-on working class curmudgeon mode).

Affleck should have it written into his contract that he’s only allowed to work with Kevin Smith. He hasn’t been this good since “Chasing Amy.” He deftly handles the film’s dramatic moments and has amazing chemistry with the child playing his daughter, Gertie (sparkling newcomer Raquel Castro). For the past few years, Affleck’s been stumbling through big-wattage tripe like “Armageddon,” “Pearl Harbor” and “Paycheck.” It’s great to see him reconnect with Smith and do something more sincere and low-key.

In that respect, “Jersey Girl” is a departure for both star and writer/director. This flick is the first one that Smith has created outside his View Askewniverse, the home of characters from “Clerks,” “Mallrats” and the like. It is a more mature effort, closer in spirit to Smith’s work in “Chasing Amy” than “Jay and Silent Bob Strike Back.” With this film, Smith has definitely moved beyond his comfort zone.

Not only are Jay and Silent Bob conspicuously absent but so are gratuitous references to movies, comic books and the aforementioned dick and fart jokes. Without relying on any of his old tricks, Smith successfully navigates the tricky waters of dramatic comedy, never veering off course into sappy melodrama. The movie is sentimental, but there aren’t any false moments. An earnest script and genuine performances help you overlook any weaknesses.

While you won’t hear “snoochie boochies” anywhere in this film, “Jersey Girl” still contains Smith’s trademark irreverent humor. He effectively uses laughs to offset the movie’s heavier themes. The high point is when seven year-old Gertie performs with her family in a number from the creepy musical “Sweeney Todd” for a school talent show. It’s an inspired moment and a skewed view of suburban life akin to the hockey game on the roof of the convenience store in “Clerks.”

The script is good, but the cast is this film’s strongest asset. Affleck and Liv Tyler are at their best as the widowed dad and the grad student/video clerk that catches his eye. They mesh so well, it’s hard to believe these are the same actors that fumbled so awkwardly as lovers in “Armageddon.” Tyler’s quirky delivery adds life to this flick and is a wonderful compliment to Affleck’s melancholy charm. Their first encounter as Affleck attempts to rent porn while his daughter searches for a kiddie flick is a stand out.

The “Jersey Girl” of the title is young Raquel Castro and she is quite a find. As Gertie, she’s cute without being precious and precocious without being annoying. Castro is the best kind of child actor, stealing scenes without being obnoxious. She is the antithesis of little trolls like Jonathan Lipnicki and Macaulay Culkin. Here’s a little trivia for you: Gertie’s teacher is played by Betty Aberlin, better known to all as Lady Aberlin on “Mr. Rogers’ Neighborhood.”

Castro’s scenes with Affleck flow easily and honestly. They are very believable as father and daughter. Kudos to the tyke for holding her own and props to Affleck for being so good with kids. Snaps also to the casting director for finding Castro, who bears an amazing resemblance to Jennifer Lopez Ð her onscreen mom. Lopez also deserves some credit for an endearing performance in a tiny role.

I never thought I’d say, “What this movie needs is more J.Lo,” but since Affleck spends the entire film mourning her death, we should get to know her through more than a few brief scenes. There’s just not enough time devoted to developing the relationship between Affleck and Lopez. When she dies, you don’t sympathize with his loss Ð you just accept it as a plot point. We need more than just a breezy romantic montage to show that these two loved each other.

Perhaps, there originally was more screen time dedicated to this relationship and all the bad “Bennifer” buzz convinced Smith to trim it. If that’s the case, it was an unfortunate decision. As much as J.Lo gets on my nerves, I’d rather feel a character’s grief is justified by more than a need to keep the story moving. Lopez’s scenes aren’t the only place where I feel Smith holds back.

There are several moments where he uses songs to convey emotion rather than dialogue. It is as if Smith has more confidence in the music to move his audience. For example, one scene has Affleck attempting to persuade a crowd with a speech. It’s a pivotal moment where his character, a former publicist, realizes that he genuinely misses his former life. Instead of wowing us with a monologue, Smith plays a song over the scene. I like montages as much as the next guy, but why does the director have more faith in this tune than in his own abilities or those of his star?

Smith’s devotion to the film shines through in his script and direction and helps you overlook its shortcoming. “Jersey Girl” is obviously a labor of love and directly influenced by his life as a new father. It is a sweet and heartwarming little film and will probably be the only Kevin Smith flick you’ll ever feel comfortable sharing with your mom. While it most likely won’t appeal to all of his fans, this movie is an honest reflection of this guy’s personal and professional growth.

Since he hit the scene in 1994, Kevin Smith has gone from a twenty-something convenience store clerk with Hollywood dreams to a successful filmmaker, entrepreneur, husband and father. He’s moving on and trying something new and I applaud him for it. In many ways, he’s just like one of us: a movie geek and comic book nerd who’s grown up, but still enjoys a good stink palm gag every now and then.