A lighthearted, determinedly independent romp.
Dogma (1999)
Tomatometer
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Reviews Counted:9
Fresh:6
Rotten:3
Average Rating:5.8/10
Consensus: Provocative and audacious, Dogma entertains without overtly offending.
Runtime: 2 hrs 13 mins
Genre: Comedies
Synopsis: Imaginative theology and a bigger than usual budget make Kevin Smith's fourth film a kind of post-Catholic fantasy that only a comic-book enthusiast of his caliber could dream up. The plot is set... Imaginative theology and a bigger than usual budget make Kevin Smith's fourth film a kind of post-Catholic fantasy that only a comic-book enthusiast of his caliber could dream up. The plot is set in motion by two banished angels, Loki (Matt Damon) and Bartleby (Ben Affleck). After a few millenia in Wisconsin, they've discovered a loophole in Catholic doctrine that would allow them back into heaven--but prove the fallibility of God and destroy the universe. Unaware of the peril, they make their way to New Jersey to receive a plenary indulgence. Meanwhile, God has dispatched a seraphim (Alan Rickman) to recruit lapsed-Catholic Bethany (Linda Fiorentino) to stop the angels. She finds help in muses, prophets (Jay and Silent Bob), and the forgotten 13th apostle, Rufus (Chris Rock). Before long, all hell breaks loose (literally), and God (Alanis Morrisette) has to put in an appearance of her own. The success of the film is in the juxtaposition of Smith's trademark acerbic attitude and witty dialogue against the enormous canvas of Christian iconography and apocalyptic conflict. [More]
Starring: Matt Damon, Ben Affleck, Linda Fiorentino, George Carlin
Starring: Matt Damon, Ben Affleck, Linda Fiorentino, George Carlin, Salma Hayek, Chris Rock, Alan Rickman, Jason Lee, Bud Cort, Alanis Morissette, Jason Mewes, Kevin Smith, Janeane Garofalo, Brian O'Halloran, Jeff Anderson, Guinevere Turner
Director: Kevin Smith
Director: Kevin Smith
Screenwriter: Kevin Smith
Producer: Scott Mosier
Composer: Howard Shore
Reviews for Dogma
Too talky, too fond of in-jokes, too caught up (especially during the dismally weak climax) in its crass comic-strip ethos, and not, finally, as funny, subversive or thought-provoking as it would like to be.
If this is [Smith's] one 'message' movie, let's hope he has got it off his chest.
Smith's comic allegory is overlong and confused, but his move from indie to mainstream deserves at least some credit.
A very vulgar pro-faith comedy rather than a sacrilegious goof, Dogma is an extraordinarily uneven film that significant cutting might be able to transform into a playable one.
Dogma is a raucous, profane but surprisingly endearing piece of work, a funny and lively film of ideas.
Smith has made a movie that reflects the spirit in which many Catholics regard their church. He has positioned his comedy on the balance line between theological rigidity and secular reality, which is where so many Catholics find themselves.
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