It seems like longer than 5 years since young director Kevin Smith and his View Askew Productions burst into the movie-making business with the critically-acclaimed “Clerks”. After unfairly suffering from the dreaded “sophomore jinx” with the maligned “Mallrats” (with critics expecting a Clerks 2 of sorts), Smith bounced back successfully in 1997 with “Chasing Amy”.Now, after an incredibly long post-production period due to the editing process as well as some studio-swapping, audiences will finally soon get a look at his fourth film, the already controversial “Dogma”.

Dogma’s plot revolves around two angels, Loki & Bartelby (Matt Damon & Ben Affleck) who’ve been banished from heaven and forced to live a life of purgatory on Earth (in Wisconsin, no less). Due to a loophole that they discover in Dogmatic law, they soon realize a way back in, and plan to “unmake the world” once they get there. It’s up to a very diverse bunch of heroes: Bethany (Linda Fiorentino), Rufus (Chris Rock), Serendipity (Salma Hayek), Metatron (Alan Rickman) and last, but certainly not least, Jay & Silent Bob (Jason Mewes & Kevin Smith).

Unlike Smith’s previous 3 efforts, Dogma covers a fairly vast turf, becoming a “road movie” of sorts. In fact, no two setsare visited twice. The film presents a scene, does its job, and moves along. Clerks and Mallrats both relied on their central locations, and Amy was mostly grounded as well due to the relationship taking center stage. With this film, we’re taken on both a physical and emotional journey through the eyes of a variety of characters, just waiting for the point where all their paths will cross.

Dogma also has the distinction of being the first of Smith’s films to feature physical makeup work, digital special effects, and elaborate action sequences. Kevin’s just got that unique quality of re-inventing himself with every movie that he makes. Each subsequent picture in his career has taken a new direction, a new look, and coincided with his own personal growth as well. While he admittedly kept most of the action off screen to avoid complex direction, Smith’s cuts are, as always, timed cleverly enough that you THINK you saw something, and imagine it for yourself.

The cast choices for Dogma are divine in their own right. Affleck and Damon play perfectly off each other in their scenes,though trailers and news reporters may lead audiences to believe that the duo share more screentime. The bulk of the story lies with Fiortentino, who, after gaining notoriety for a sinister turn in “The Last Seduction”, pulls off the part of the innocent heroine quite well. Other View Askew alumni even get a chance to put on some new faces, with Damon taking on a gleefully evil role along with Jason Lee‘s first journey to the dark side as Azrael. George Carlin shows up in a small role as Cardinal Glick, and seems right at home.

When it comes to Dogma’s funnier elements, there’s no denying that Mewes steals the show. The film’s got lots of laughs,but Mewes himself delivers the film’s most hilarious (and obscene) material in grand style. It’s tough to upstage such an incredible cast, but Jay’s done just that. When he’s in a scene, he OWNS it. Of course, I didn’t expect any less from Jay,but feel that his performance in this film shows an incredible potential for a career even outside of View Askew’s universe would he choose to pursue it.

Digital effects are still just that: Digital. I’m of the old school of visuals and still prefer the physical effects to the computer generated stuff. Some of Dogma’s digital stuff looks better than others. A few things certainly could look a bit more realistic, but as a whole they definitely add to the picture’s comic book feel. To go into further detail may spoil some of the film’s surprises, so I’ll leave it at that. This isn’t a movie that’s made to showcase its special effects, like Phantom Menace. Like all of his films, the dialogue is still the star, and takes center stage.

If there’s anything to fear with Dogma, it’s the fact that the film might almost be TOO intelligent for your average moviegoer. When listening to Smith’s eloquent, detailed musings on faith through the film’s characters, I had to wonder if audiences, especially those without a familiarity with religion, might find themselves a bit lost in the words.Don’t walk in late for this one, folks. From an early scene between Damon & Affleck in an airport, to Rickman and Fiorentino’s early meeting, all the way to a fireside conversation between Rock, Fiorentino, Jay, & Bob, Dogma isn’t content simply introducing an element of religion and walking away. It dwells on it, questions it, sometimes ridicules it, but never backs away. So, in short, pay attention! Dogma could certainly be enjoyed for some of its crude, slapstick humor, but it’s the smart dialogue that ties it all together that truly makes this a special film. I just hope that audiences aren’t intimidated or confused by some of the film’s themes. So far, so good.

I found the key source of Dogma’s charm to be the wonderful way in which Smith intertwines smart, deep, religious themes with moments of absolute absurdity. Like he did with Chasing Amy, the director has once again created a work that can stimulate the brain and the tickle the funny bone at the same time. In one scene, we’re with Loki and Bartelby in a mostly dramatic scene in the boardroom of The Mooby Corporation, which also happens to contain one of the funniest line reads I’ve ever heard as Loki (Damon) scolds their head executive. Moments later, our protagonists are going up against a large monster made of excrement, resulting in one of the “cheapest” jokes in the film. My favorite scene in the film involves a pivotal parking garage conversation between Affleck & Damon in its latter half. It allows the two the chance to show off some of their acting chops unlike they’ve ever done before. Affleck wows in that sequence. Dogma takes pleasure in crossing boundaries of genre, taste, and political correctness to create a world all its own. That’s why I like it so much. It’s a fun ride.

A final note: It’s actually quite ironic that it seems folks with some sort of religious background will actually understand and have the potential to enjoy Dogma much better than those without. Kind of funny how a film that gained notoriety by being touted as sacreligious actually panders to those with some sort of spiritual background, rather than to those who don’t have some sort of theological beliefs or background. It’s obvious that Kevin himself was quite schooled in Catholicism, judging from the detailed discussions on the Catholic religion that occur throughout the movie. Dogma may question things, but it also suggests answers, as well as a very pro-faith redemption.

Dogma is a fantastic tale brought to life by a young, talented director & cast, and one I plan to pay my seven bucks to see again this November. Maybe I can hear some more of that incredible script that got drowned out in my own (and others’)laughter this time. Once again, Kevin Smith and View Askew productions have re-invented themselves. Bravo, gang.

Actually barring any unforeseen circumstances, I hope to see the site up sometime this week. That’s not a promise mind you but it is going very well.

The full trailer will run 2:33, it is full frame and will be offered in a myriad of formats. I warn you now that you’ll have a better experience if you go and grab QuickTime 4.0(quicktime.apple.com)

I’m anticipating the following:

Phantom Menace Style:
320 x 240
24 frames per sec
44Khz – 16-bit stereo sound
16-17 megs

Almost as good:
320 x 240
15fps
44Khz – 16-bit stereo sound
8.5 megs

And 240 x 180 and 160 x 120 versions as well as RealVideo and Netshow versions just to be fun.

I just got back from the Dogma after party at the Toronto film fest. The film premiere was cool although only Kevin, Scott Mosier, and Jason Lee were there…and Harvey Weinstein.

I’m a huge Kevin Smith fan but unfortunately this movie wasnt too great. It has some good moments and poignant dialogue, but those are often shattered by Silent Bob and Jay who should never have been written in as major characters. They do nothing but ruin great dialogue with completely inappropriate humour. The movie lost it’s wit and sarcasm with the unhealthy dose of toilet humour. Chris Rock is great as the 13th apostle, and Linda Fiorentino is a great angsty descendant of Jesus. I cannot say that I liked Matt and Ben as the avenging angels simply because their pairing is an unneeded indie film inside joke.

While the film flip flops between toilet humour and much needed religious criticism, it loses its direction…. until the end. Alanis plays god in a fantastic scene that appears to be from the ‘Dogma’ that kevin wanted to make………………. before getting tied down with the obligatory “Jersey Trilogy” references.

I snuck in my digital cam to get some snaps for the net… here they are!

Buddy Christ

Chris Rock & Linda Fiorentino

Associated Press – “Toronto Film Festival Has Problems” **NO SPOILERS**
Interview Magazine – “Kevin Smith Stirs it Up” **MINOR SPOILERS**
CNN Online – “Toronto Film Festival ‘madder than Cannes’” **MINOR SPOILERS**
Indiewire – “Lions Gate Confirms “Dogma” Date on 1,500 Screens’”

“‘Dogma’: Matt Damon and Ben Affleck play fallen angels who try to get back into heaven by using a loophole in church dogma. They’ve been living in Wisconsin for nearly 2000 years, so life had been dull- until they start shooting sinners they catch in the act of commandment-breaking. In the company of and abortion-clinic counselor (Linda Fiorentino) who may be a descendant of Jesus Christ and a smartass named Rufus (Chris Rock), unheralded as the thirteenth apostle because he’s black, the angels head to a New Jersey church for an audience with God, who’s played, as a mute, by Alanis Morisette. This comic brainchild of Kevin Smith, the twenty-nine-year-old writer and director of ‘Clerks’, ‘Mall Rats’, and ‘Chasing Amy’, is boldly funny without ever being blasphemous. But not everyone is laughing-especially not William A. Donohue of the Catholic League for Religious and Civil Rights. Bob and Harvey Weinstein of Miramax had to buy the film back from their parent company, Disney, which wanted no part of this hot potato, and arrange alternative distribution. Good for Miramax. Despite the rantings of Donahue, who is notably irked that “God is played by a singer known for her nude videos and songs about oral sex,” Smith says he intends no offense: “The central message of Christ were ‘Love one another’ and ‘Tell other people.’ ‘Dogma’ was my way of spreading the word. Granted, Christ wasn’t a filmmaker, and he didn’t trade in dick and fart jokes, but he did tell stories to get a point across.” Here’s Smith’s parable to explain his intentions: “The way my film treats the church is kind of like the girl you really like in the first grade, and you don’t know how to express yourself, so you pull her pigtails. It’s like that. Affectionately, this film pulls the pigtails of the Catholic Church.” Smith believes that Donohue is raising a ruckus to “increase his own profile” at the expense of a movie he hasn’t even asked to see. “My film is irreverent,” says Smith, “but it’s not cynical. At the end of the day here, faith saves the world.”

Lion’s Gate Picks Up, Drops Dogma?

Kevin Smith’s new religious-themed pic Dogma seems to be the hot potato no distributor wants.

First Miramax passed on the movie — which features pop singer Alanis Morissette as a female God — after parent company Disney found it to be too controversial. Dogma, which just opened the New York Film Festival, languished without a distributor before unconfirmed reports began surfacing that Lion’s Gate, which found success with another hard-to-market indie, Gods and Monsters, had picked up the film.

The current issue of Entertainment Weekly reports that Lion’s Gate is “expected to become the film’s savior,” but the small distribution house did not return Mr. Showbiz’s calls.

Turns out the Canadian company is in dire financial straits, Variety reported Aug. 17. Lion’s Gate has had to put its Vancouver, B.C., studio complex up for sale. They’re asking $28 million for the 20,000-square-foot complex The X-Files used to call home.

Spokesman Peter Waal told Variety that the company was “getting out of real estate and returning to our core business, which is film and television production and distribution.”

So hectic is the rumor mill on the fate of Dogma, a “Dogma Rumor Control” (DRC) site has been created by Smith fans to keep others abreast of the latest news, rumors, and articles on the film’s status.

The DRC, which actually lists more rumors than it “controls,” considers the lack of an announcement from Lion’s Gate suspicious, and spins the theory that the film has changed hands once again.

Now New Line Cinema may take over the whole property, asserts DRC. The case for the rumor: New Line recently reached a deal with Lion’s Gate to co-distribute the Janeane Garofalo and Luke Wilson fall comedy Dog Park and is reportedly looking for another Austin Powers-size hit, although frankly we can’t imagine Smith’s film would fit that bill.

Supporting that theory somewhat, EW, in an article on the new Warner Bros. studio heads, notes that New Line is the riskiest film division of the Time-Warner conglomerate. Writes EW of the New Line division production head: “Cocksure Young Turk Mike De Luca has become the Warner family rogue, cranking out risque and controversial fare like Boogie Nights and The Basketball Diaries.” Sounds like just the place for Dogma.

Meanwhile across the pond, British site Popcorn says, “We can reveal that Dogma has been picked up by Film Four Distributors for a provisional Dec. 26 debut.”

Dogma co-stars Matt Damon, Ben Affleck, Linda Fiorentino, Salma Hayek, Alan Rickman, and Chris Rock, and is pencilled in for a Nov. 19 U.S. release.

This story was originally posted on August 18, before Lions Gate Releasing commented on the Dogma rumors. We have since clarified certain details.

The lineup of this year’s New York Film Festival is dominated by controversial fare, including Kevin Smith’s satire of Roman Catholicism, “Dogma,” Harmony Korine’s Dogma 95-style “Julien Donkey-Boy” and Frenchman Léos Carax’s “Pola X,” which was booed at its Cannes premiere.

————

The Film Society of Lincoln Center has confirmed the lineup for the 37th New York Film Festival. After opening with Cannes critics’ favorite, Pedro Almodovar’s “All About My Mother,” the 37th New York Film Festival gets under way on September 24 with a collection of highly anticipated international films. Harmony Korine’s digitally shot Dogma 95 entry “Julien Donkey Boy” will bow in New York after its world debut in Venice. As will Mike Leigh’s Festival Centerpiece “Topsy Turvy,” a biopic about British composers Gilbert and Sullivan, to be released this fall by USA Films. The distributor formerly known as October Films will also unveil music video director Spike Jonze’s first film “Being John Malkovich,” which will also show at Venice. Other domestic highlights include Kevin Smith’s religious comedy “Dogma,” Kim Pierce’s fictionalized version of the Brendan Teena Story, Fox Searchlight’s “Boys Don’t Cry” (formerly titled “Take It Like A Man”) and Robinson Devor’s “The Woman Chaser.”