THE HOLLYWOOD REPORTER
BY DAVID HUNTER
CANNES -- Celestial beings without genitals, demonic bar bullies made of
human excrement, an almighty God who likes to visit Earth for kicks -- the
gory, giggly church of Kevin Smith has opened up its doors wider than ever
with "Dogma."
Smith's often crude and silly gospel won't amuse all parishioners. But the
Harvey Weinstein-financed dark comedy has the potential to draw many new
converts not familiar with Smith's growing body of work.
The heavyweight cast includes Matt Damon, Ben Affleck, Linda Fiorentino and
Chris Rock. "Dogma" premiered out of competition, after midnight Friday,
with much excitement and domestic distribution rights up for grabs. With
many rude and offensive jokes, the movie is obviously too hot a tamale for
corporate mother church Disney, despite the pious stance of the filmmaker.
But for whoever releases it, "Dogma" is a likely commercial winner if not a
fair-sized hit.
In serious need of trimming, particularly in the final hour, Smith's fourth
film is actually a pro-religion film, but then so was "Pulp Fiction" --
squeamish and violence-weary viewers be warned. The curveball artist from
New Jersey will mow down the younger adult and teen audience if the final
product shows more discipline in the editing.
The mixed critical response and potential protests from angry parties could
have a positive effect on business, as those who will vilify it the most
will be cinematic teetotalers who won't convince many people this movie is
dangerous in any way. Sure, Catholicism is the object of withering satire
that lets few opportunities go by to subvert the canon, but the cumulative
effect is no worse or no more mean-spirited than Monty Python's "Life of
Brian."
For those familiar with Smith's work, "Dogma" sounds a whole lot worse than
it plays. In general, it's a run-to or avoid-at-all-costs lark, which is
deliriously funny when it isn't the kind of simultaneously grand and
infantile comic-book abortion Smith has seemed destined to inflict on the
world since "Clerks."
One of the worst sins of "Dogma," filmed in widescreen with no special flare
by Robert Yeoman ("Drugstore Cowboy"), is Smith's indulgence in a
Tarantino-like love of his own dialogue. Many scenes go on too long without
a worthwhile payoff. There's also too much dogma in general. Seemingly every
time a character is introduced the movie has to explain at length his part
in the saga of how a rag-tag group of human and heavenly heroes attempt to
stop the world from ending.
Like the hip-hop clown Jay character (Jason Mewes), who has appeared with
Silent Bob (Smith) in all the filmmaker's movies, "Dogma" is often a
wearying experience. Even worse, it takes itself half-seriously but fails to
enthrall one with its primary storyline: the journey of two celestial
outcasts (Ben Affleck, Matt Damon) from Wisconsin to New Jersey, where a
"loophole" in Catholic dogma may finally open the heavenly gates closed to
them for millennia.
Fiorentino plays Bethany, the so-called Last Scion and a direct relation to
Jesus Christ, who is contacted by Metatron (Alan Rickman), the Voice of God.
Condescending and impatient, the latter has to prove he's the real thing in
order for Bethany to believe she must join two prophets (Jay and Silent Bob)
on a mission to stop Loki (Damon) and Bartleby (Affleck). If the ancient,
angry and proud avengers succeed -- with Loki smiting everyday sinners in
perhaps the most controversial subplot -- they will inadvertently prove God
is fallible, with dire results for mortals and immortals alike.
Funnyman Rock is not disappointing as the 13th apostle, Rufus, who knew
fellow black Christ. God Herself is played by Alanis Morissette in the
bizarre conclusion. The muse Serendipity (Salma Hayek), who inspired 19 of
the top 20 all-time boxoffice champs, is along for the ride, which is
further complicated and slowed up by horned heavy Azrael (Jason Lee). As the
unknowing cause of all the trouble, George Carlin's liberal Cardinal Glick
is a gruff but spiritually motivated con man -- which also could describe
the filmmaker barely in control of his own cinematic circus.
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