Dogma: Critic Reviews

The movie simply demonstrates the limitations of Smith's vision and humorous abilities, rather than any satirical prowess.

When Smith's not practicing the humor of outrage, he's preaching to a choir highly likely to be perplexed.

Smith is a spirited jester, and parts of Dogma are bright, icon-busting fun, but most of it is a god-awful mess.

The result is a mish-mash of tones in which such absurdities as singer Alanis Morissette's appearance as God undercut any emotional responses you might have to the climaxes involving Bartleby and Bethany.

I couldn't care less whether Smith's metaphysical conceits about the war between Good and Evil are those of a devout believer or an atheist. The bottom line is that they're puerile.

Dogma is more strained than funny.

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.

A fresh premise gradually turns stale, and jokes that start out lively end up pooped.

Thou shalt not stop laughing.

This movie takes a dare that shows why Kevin Smith is loved: he dares to take a risk and questions religion.

It's too bad Smith's trademark humor got in the way, because while the film definitely has its flaws, there's no denying that it also had the ability to serve as an intelligent debate about religion.

The true target of the film is not religion but religious dogma ...

A lighthearted, determinedly independent romp.

Make no mistake, Kevin Smith's talky, farcical comedy of cosmic errors is clever. But it's clever in a deeply juvenile way.

What you hear throughout Dogma, liberally peppered with the usual prankish profanities, is Kevin Smith having a conversation with himself about his faith.

Writer-Director Kevin Smith keeps getting better.

It's push-the-envelope coarse, thematically ambitious, and -- most dangerously -- self-consciously respectful and thoughtful on matters of faith and religion.

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.

At their best, his verbal exercises are pyrotechnical, at worst, logorrheic.

It is thoughtful and funny but less than satisfying. Smith took on a bit too much, but I laud the effort.

a surprisingly tender and humane movie that seems touchingly confident of God's sense of humor and infinite patience

Irreverent, but it is hardly sacrilegious.

Jumping on the pre-millennium, end-of-the-world hype, Smith has chosen an opportune time to take a satirical and witty look at the shortcomings of organized religion.

The film takes aim at so many contemporary targets and with such gusto that you fear each time you laugh you might be missing another wonderful line.

I loved seeing all these great character actors at work, and the discussions are rich and intelligent.