*

DOGMA

DIRECTED BY KEVIN SMITH
STARRING BEN AFFLECK, MATT DAMON, LINDA FIORENTINO

reviewed by Benjamin Asa Smith

| feel, at times, a little distressed with certain themes presenting themselves in films of
recent years. Cinema that might superficially read as a sort of anti-authoritarian critique
of a stagnant structure sometimes promotes said structures. :
Low-brow example: the films Independence Day, Armageddon, Deep Impact,
and all the others in the oeuvre. They devote a large amount of their time destroying
hierarchical constructs (the Empire State building, the White House, etc.), and what does
that do? Well, it fills us with a certain glee. It's good to see the fat cats getting the
what-for, right? Give it to the man. Great to see the government get what it deserves.
But what else did the films do? For starters, they separate both complicity and responsi-
bility from the common, the public, the viewer. In disaster films rescue comes, if it comes
at all, from the structures it has supposedly been destroying, from the structures we all
took pleasure in seeing destroyed. Ah, we get it. We might hate them, but thank good-
ness they're there, for what would we do without them? Secondly, and a little more
devious, is the fact that these films present ridiculously unstoppable powers from above.
We, the people, are truly meek and humble before the might of the heavens. A rein-
forcement of a nasty power structure, linked to the authority we detest and perpetuate.
A slightly higher-brow example (though not very): the films Stigmata and, most
likely, the upcoming Arnie crapfest, End Of Days. Here we have film that is supposedly
taking digs at the Catholic church. An easy target, to be sure. Controversy has been
broiling, shit has been slung, Bono and the Pope are up in arms. But it's hardly necessary,
for these fine pieces of cinema seem more like church propaganda than anything else.
Consider: are you really tearing down Catholicism or Christianity or whatever you call it
by throwing hooks at current management while reaffirming the existence of Jesus Christ,
son of the one and true God? | have horrifying visions of teenagers with dyed-black hair
going to Stigmata and saying “Yeah, yeah, those churchy bastards really took it up the

Scene from Kevin Smith's Dogma
(Kevin Smith: left, Jason Mewes: right)

ass! Jesus had all this other stuff to say! Yeah, screw the church!" when what they're
really getting is one cruel brainseed. It's not that they're supporting religion - | argue on
the side of religion as easily as | argue against it - it's that they say they're not.

Alright, all that ass-blowing said and done, Dogma is one good movie. It is ter-
rifyingly didactic at times and sermons abound at a startling regularity, but you know
what? It's got a decent message at its heart. Yes, it's a sort of Catholic voice that's
relaying the message, but at least it never tries to hide the fact.

Dogma begins slowly. We're left to shift in our seats as Affleck and Damon,
who are genuinely bad dramatists, fumble about in Smith's sharp dialogue. And then
Fiorentino appears. She sucks, too. But all of a sudden Alan Rickman jumps into the pic-
ture and things get moving.

The boys from Good Will Hunting play a pair of fallen angels trying to get back
into heaven by way of loophole after a few millennia trapped on Earth. Ms Fiorentino
(you probably remember her from Men In Black) is charged with the holy duty of stop-
ping them.

Really, though, the flick shakes off the training wheels and finds its proper tone
with the appearance of its two least trained actors: Jason Mewes and Kevin Smith as Jay
and Silent Bob, respectively. They carry the film, stealing scenes from everyone (save
Rickman, who is far too cool for scenes to be stolen from him. Watch Die Hard). It's
impressive, really, especially with celluloid chewers like George Carlin, Chris Rock, and
Jason Lee all making strong appearances.

Dogma isn't as intelligent as it would like to be, but it is honest with decent sen-
timent. Moreover, it's hilarious. Even as it grapples with a beast that's had a strangle-
hold on Western culture for quite some time, it races with black humour, crude gags,
sharp wit, and remarkable profanity Jason Mewes). | highly recommend it.

Scenes to watch for: the Indiana Jones And The Last Crusade reference, a dick-
less Alan Rickman, Jason Mewes profaning at God.

Additional viewing: Kevin Smith's Clerks, Mallrats, and Chasing Amy. And try
out Smith's run as scribe on the Daredevil comic series.

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DOGMA

DIRECTED BY KEVIN SMITH
‘STARRING BEN AFFLECK, MATT DAMON, LINDA FIORENTINO.

reviewed by Benjamin Asa Smith

| feel, at times, a little distressed with certain themes presenting themselves in films of
recent years. Cinema that might superficially read as a sort of anti-authoritarian critique
of a stagnant structure sometimes promotes said structures.

Low-brow example: the films Independence Day, Armageddon, Deep Impact,
and all the others in the oeuvre. They devote a large amount of their time destroying
hierarchical constructs (the Empire State building, the White House, etc.), and what does
that do? Well, it fils us with a certain glee. It's good to see the fat cats getting the
what-for, right? Give it to the man. Great to see the government get what it deserves.
But what else did the films do? For starters, they separate both complicity and responsi
bility from the common, the public, the viewer. In disaster films rescue comes, if it comes
at all, from the structures it has supposedly been destroying, from the structures we all
took pleasure in seeing destroyed. Ah, we get it. We might hate them, but thank good-
ness they're there, for what would we do without them? Secondly, and a little more
devious, is the fact that these films present ridiculously unstoppable powers from above.
We, the people, are truly meek and humble before the might of the heavens. A rein-
forcement of a nasty power structure, linked to the authority we detest and perpetuate.

‘A slightly higher-brow example (though not very):. the films Stigmata and, most
likely, the upcoming Amie crapfest, End Of Days. Here we have film that is supposedly
taking digs at the Catholic church. An easy target, to be sure. Controversy has been
broiling, shit has been slung, Bono and the Pope are up in arms. But it's hardly necessary,
for these fine pieces of cinema seem more like church propaganda than anything else.
Consider: are you really tearing down Catholicism or Chstianity or whatever you call it,
by throwing hooks at current management while reaffirming the existence of Jesus Christ,
son of the one and true God? have horrifying visions of teenagers with dyed-black hair
‘going to Stigmata and saying "Yeah, yeah, those churchy bastards really took it up the

‘photo supplied by Lion’ Gate Fims

Scene from Kevin Smith's Dogma

(Kevin Smith: left, Jason Mewes: right)

{ipsey 00} $91 ‘sJasKuu yno 1 aunBy 3,uUe> | :SYaMSNY

‘can you spot the differences? answers below

‘ass|_Jesus had all this other stuff to say! Yeah, screw the church!" when what they're
really getting is one cruel brainseed. It's not that they're supporting religion - | argue on
the side of religion as easily as | argue against it - it's that they say they're not.

‘Alright, all that ass-blowing said and done, Dogma is one good movie. It is ter-
rifyingly didactic at times and sermons abound at a startling regularity, but you know
what? It's got a decent message at its heart. Yes, it's a sort of Catholic voice that’s
relaying the message, but at least it never tries to hide the fact

Dogma begins slowly. We're left to shift in our seats as Affleck and Damon,
who are genuinely bad dramatists, fumble about in Smith's sharp dialogue. And then
Fiorentino appears. She sucks, too. But all of a sudden Alan Rickman jumps into the pic-
ture and things get moving.

The boys from Good Will Hunting play a pair of fallen angels trying to get back
into heaven by way of loophole after a few millennia trapped on Earth. Ms Fiorentino
(you probably remember her from Men In Black) is charged with the holy duty of stop-
ping them.

Really, though, the flick shakes off the training wheels and finds its proper tone
with the appearance of its two least trained actors: Jason Mewes and Kevin Smith as Jay
and Silent Bob, respectively. They carry the film, stealing scenes from everyone (save
Rickman, who is far too cool for scenes to be stolen from him. Watch Die Hard). It's
impressive, really, especially with celluloid chewers ike George Carlin, Chris Rock, and
Jason Lee all making strong appearances.

Dogma isn't as intelligent as it would like to be, but it is honest with decent sen-
timent. Moreover, i's hilarious. Even as it grapples with a beast that's had a strangle-
hold on Western culture for quite some time, it races with black humour, crude gags,
sharp wit, and remarkable profanity (Jason Mewes). | highly recommend it

‘Scenes to watch for: the Indiana Jones And The Last Crusade reference, a dick-
less Alan Rickman, Jason Mewes profaning at God.

‘Additional viewing: Kevin Smith's Clerks, Mallrats, and Chasing Amy. And try
‘out Smith's run as scribe on the Daredevil comic series.

Photo not suppled By Lions Gate Fis