A screenwriter's voice is a precious thing. When used sparingly and carefully, it can lend a distinct edge to a film's characters and the situations around them. When overused, it can make characters cease to be individuals, becoming merely puppets of a singular mind.
This is a dilemma that many famous writer-directors, from Woody Allen to Spike Lee, have dealt with at some point in their careers. But Kevin Smith ("Clerks," "Mallrats," "Chasing Amy") has delivered a defiant answer: His latest movie, "Dogma," which opens today.
With "Dogma," Kevin Smith takes a brave and important step in keeping his voice fresh, telling a innovative story about two fallen angels (Matt Damon and Ben Affleck) who discover a loophole in Catholic dogma that could allow them to return to heaven. But since their return would negate a decree of God, it also will negate the whole of existence. For reasons that remain unclear until later on, God dispatches Bethany (Linda Fiorentino), a nurse at an abortion clinic in Illinois, to travel to Red Bank, N.J., and stop the insurgent seraphs.
Yes, this story is far more complex and fanciful than Smith's previous work. But he doesn't abandon his trademark style: Many scenes in the movie revolve around the rapid-fire dialogue for which he is famous. This time, though, Smith adds a deep knowledge of the Bible to his ample comic talents, twisting its holes and discrepancies in wickedly funny ways.
The writer-director also makes some trenchant observations. Smith takes on the racism and gender bias in Christian history and the writing of the Bible, and he criticizes the fragmentation, infighting and self-righteousness that sometimes characterize the Protestant and Catholic churches. By taking on such a loaded subject as religion, Smith ventures into uncharted comic territory. His previous films gave no indication that he had the dexterity to create such a broad look at the absurdities and joys of faith.
Putting the innovative subject matter aside, one aspect of about this film remains characteristic of Smith's style: This movie is damn funny -- a gut-buster from start to finish.
Part of "Dogma"'s brilliance lies in the casting, as familiar faces play highly unlikely religious icons. Though he doesn't get the opportunity to unleash his full comic prowess, Chris Rock is very funny as the 13th Apostle, Rufus, a down-on-his-luck holy man who was left out of the Bible. Rufus oscillates between providing comic relief, as he bemoans his excision from history, and offering wise (and funny) moral support for Bethany.
Fiorentino is excellent as Bethany, a cynical, jaded and yet deeply feeling woman who has almost lost her faith when she is forced to believe in angels and demons as a part of her world. Bethany's plight adds a bit of dramatic gravity to a situation that would otherwise be only humorous.
As is their tendency, the film's two "prophets," the familiar Jay (Jason Mewes) and Silent Bob (Smith) nearly steal the show. Their role in "Dogma" is far more prominent than in the other Smith films, but they provide the same absurdly crude edge.
Affleck and Damon get a chance to do the buddy thing again as the fallen angel pals, clearly relishing the opportunity to work together again. As Loki, the former Angel of Death, Damon is particularly inspired, recovering his genocidal impulses with glee. Alan Rickman as Metatron, the highest-ranking angel in heaven, has a great role and delivers some hilarious lines. In addition to the main characters, there are a few cameos that come as complete surprises, and will make audiences laugh just because of their sheer improbability.
Less inspired is Jason Lee as Azrael, a demon who assists the fallen angels to bring about the snuffing of Earth. His character's lines are sparse and he doesn't add much humor to the film. And Salma Hayek, as usual, makes a minimal impression as Serendipity, a divine muse-turned-stripper.
Otherwise, "Dogma" will cause Smith fans to sigh with relief. It tackles new ground in content, but without compromising the coarse comedy that sets Smith's films apart. Despite gaining star power and budgetary clout, Smith continues to surprise and amaze his audiences.
Grade: A-
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