REVIEW COURTESY FILM-411

Written and Directed by Kevin Smith
Starring -- Linda Fiorentino, Ben Affleck, Matt Damon, Chris Rock, Jason Mewes, Jason Lee
Produced by Scott Mosier
Cinematography -- Robert Yeoman
Reviewed Running Time -- 137 minutes
Projected Release -- Fall 1999
No MPAA Rating -- (Would be R for violence and profanity)
Ratio -- 2.35:1 (Super 35mm)
Distributor Unknown at this Time

I was lucky enough to be able to obtain passes to an audience test screening of Kevin Smith’s anticipated DOGMA a few months back in Philadelphia, PA. Needless to say, I was quite excited to be seeing this film. The color timing and special effects were still incomplete and it was scored with a temp track instead of the Howard Shore score that will accompany the final cut. Another thing to take into consideration when watching or evaluating a rough-cut is incomplete editing. The first cut of this film was a lengthy three-plus hours and the version reviewed here ran 2 hours and 17 minutes without credits (in contrast, the version screened at Cannes ran 2:15 including credits with the released version to run at least 10 minutes shorter). Even at this stage, I felt that DOGMA moved nicely with very little "fat" to be seen. The only bits I can see being cut down are some lengthy conversations that, depending on the viewer, might seem a bit long-winded. Editing is also used extremely well here to add a rapid-fire pace to more exciting sequences.

Despite the unfinished nature, I found this to be an excellent film. The test audience I was in seemed to agree it was at least a good film as well (only 4 percent giving it a ‘poor’ rating.) In fact, I believe this is probably Kevin Smith's best film yet, although I'm struggling with the decision of putting it over CHASING AMY. I’m fairly sure that after I see DOGMA again, with finished sound and corrected color, it will surpass even that great film in my mind. CHASING AMY was a sometimes hurtfully truthful and reality-based film, but DOGMA lies closer to the other end of the film spectrum. On the surface it's a road adventure/comedy, but it's the ideas rather than stereotypes that makes it so special. Kevin’s screenplay (a draft of which I had read beforehand), which tells the story of an attempt to stop a pair of renegade angels from reentering Heaven after they had been expelled from Paradise centuries earlier for defying God's command, oozes brilliance.

This is undoubtedly an ambitious project for Kevin Smith as it is easily the largest in scope, approaching “epic project” in his filmography so far. The first thing to take notice about DOGMA as opposed to the rest of his films is the work put into visuals. While it’s certainly not on a level with a John Woo or Dario Argento flick (not that the story warrants it), it has a slick camera style. Gone are the long, statically held shots that characterized his earlier work, the camera moves a surprising amount here. This film has wonderful Super 35 2.35:1 compositions by cinematographer Robert Yeoman, who also did beautiful widescreen work on the recent RUSHMORE. Even past the visual style, much of the film is a departure for Kevin. Notably, DOGMA is bloodier than any of his previous films, although most of the violence is suggested rather than shown.

The one thing that has not been changed in DOGMA is Kevin Smith’s signature dialogue. Strangely though, here it seems that many of the performances in the longer of these scenes have been “shaped” in the editing. Many conversations stray from the long master shots that were often employed in Smith’s earlier films, instead opting for fast one-shot cutting. That is not a knock on the performances on screen; the ensemble cast here is mostly excellent. Breaking free from a recent string of generic roles, Ben Affleck shines most brightly in this film giving a flat-out great performance as the angel Bartleby. I’d have a hard time believing there will be more deserving performances this year to shun him from an least a nomination in the Supporting Actor category of the Oscars. Alan Rickman, of DIE HARD fame, hands in another fantastic turn as the voice of God, or Metatron. Jason Mewes and Kevin are great crowd-pleasers with priceless lines and introduction here. Even Chris Rock surprises, giving a better performance as “the lost 13th apostle” Rufus than most would probably expect. Linda Fiorentino seems a bit lost at times in her role, but the overall effect of her performance succeeds. She handles the drama better than the comedy, while George Carlin reminds you just how funny he can be, even with his limited screen time. In another supporting role, Jason Lee, who also delivers what is arguably the film’s funniest line, gives one of the film’s best turns as a demon. I have a feeling that another “character” will get the biggest reaction from viewers though: if you’ve heard anything about the movie you probably know what/whom I’m referring to.

Since I attended the Miramax-sponsored test screening, the Weinstein brothers have bought the film back from financier/distributor Disney, who feared a PRIEST-like uproar over the satirical religious content. DOGMA does take on heavy subject matter with wit giving Disney legitimate fears about releasing it, but is the movie offensive? Only if you're the type who is offended when someone disagrees with you. Despite the subject matter, this is not at all a preachy or pretentious movie. DOGMA merely presents a fantasy with a plethora of fresh ideas. It does not try to make your mind up for you and that’s an extremely admirable trait. Even so, a lot of people are likely to unfairly bash DOGMA, most probably without even watching it first. Having seen it I believe that DOGMA is the second best film (just behind David Cronenberg’s eXistenZ) I’ve seen thus far this year, even in its incomplete form. It is fun, smart, and all-around quality filmmaking that I would strongly recommend to anyone with an open mind.