AT A GLANCE
Dogma
Writer-director: Kevin Smith
Starring: Ben Affleck, Matt Damon, Linda Fiorentino, Alan Rickman, Jason Lee, Kevin Mewes, Salma Hayek, George Carlin and Kevin Smith
Availability: Playing in select theaters starting June 5
Critical rating: 3 stars out of 4
It has been just over 25 years since writer-director Kevin Smith first brought Dogma to the screen. Now, the religious satire is back remastered for a special 4K theatrical run.
The 1999 film was Kevin Smith’s fourth feature and, by that point in his career, he had established himself as a fresh cinematic voice who wasn’t afraid to push boundaries and ruffle feathers. That sensibility is on display throughout the picture, and it begins with opening title cards that state, among other things, “to insist that any of what follows is incendiary or inflammatory is to miss our intention and pass undue judgement; and passing judgement is reserved for God and God alone (this goes for you film critics too … just kidding).”
Duly warned, I dove back into Dogma for the first time since its cinematic run. During the initial release, I was floored because there was nothing like Smith’s witty dialogue and bawdy humor making its way through late-’90s theaters. Viewed through a modern lens, the movie feels less inventive, but still fun. It’s also a nostalgic experience, as it’s fascinating to watch the star-laden cast through a lens that has seen a quarter century pass.
Matt Damon and Ben Affleck star as Loki and Bartleby, fallen angels who believe they have discovered a loophole allowing them to return to heaven after a lengthy exile in Wisconsin. Problem is their plan would end existence as we know it. So, a seraph named Metatron (Alan Rickman) charges abortion clinic employee Bethany Sloane (Linda Fiorentino) with stopping the angels. Since she needs help, Metatron hooks her up with two prophets, none other than Smith regulars Jay (Kevin Mewes) and Silent Bob (Smith). Bethany’s quest is also aided by a forgotten apostle named Rufus (Chris Rock) and a muse named Serendipity (Salma Hayek). That’s a lot of star power for a quirky, religious comedy, and I haven’t even mentioned showings by Jason Lee, Janeane Garofalo, pop star Alanis Morissette, and the late George Carlin.
Watching so many notable talents dance across the screen in 2025 makes it all the more surprising that Dogma was a lost film for years. This occurred primarily because of the scandal surrounding Harvey Weinstein, who co-owned the rights. When a new distribution company negotiated a deal, the film was primed for its 4K restoration and return.
As in 1999, Dogma runs the risk of offending religious viewers, particularly Catholics. Although I don’t think it’s fair to call the film anti-Christian, it pushes well beyond the boundaries most believers would find acceptable on a Saturday night, let alone a Sunday morning. Profanity and sex gags are constant, Rufus and the prophets meet the muse in a strip club and Carlin – portraying a cardinal – smokes like a chimney.
That noted, the movie never doubts the existence of God, who is portrayed onscreen, nor does it overtly target believers. Rather, it slyly questions everything from the ability of mankind to create spiritual laws to the constantly shifting goal posts surrounding the appropriate punishment for sin.
While I don’t believe the movie plays as well in 2025 as it did at the close of the 20th century, much of Smith’s dialogue is as biting as ever. He is a fantastic writer, and his material is particularly good when handed to a talented cast. Affleck and Damon – fresh off Good Will Hunting success when the film hit theaters – are a delightful onscreen duo, and Fiorentino is a winning lead. Likewise, Mewes and Smith are so at ease playing Jay and Silent Bob that nearly all their scenes are a blast.
The fact that the still-relevant Rock, Hayek, Rickman, Carlin, Lee and Garofolo are supporting players tells you just how strong this cast is. Smith’s more recent work has lost a few steps, but Dogma is reminder of what he was capable of in his prime … and what he may have in store for the future.
Author Bio:
Forrest Hartman is Highbrow Magazine’s chief film critic.
For Highbrow Magazine