Writer/director Kevin Smith (Dogma) takes a stab at family friendly territory with the story of Ollie Trinke (Ben Affleck), a music publicist who must give up the glamour of the big city to realize the realities of single fatherhood. Despite brief J. Lo involvement, Jersey Girl is by no means Gigli 2: Electric Boogaloo. Alternating between edgy humor and sweet family melodrama, Smith shows a growing sense of maturity. Liv Tyler stars as Maya, a liberated video store clerk and Ollie’s real love interest. Tyler and Affleck have terrific chemistry and their scenes together are a playful highlight. The real star of Jersey Girl is nine-year-old Raquel Castro, who plays Ollie’s daughter. Castro is delightful and her cherubic smile can light up the screen. Smith deals heavily with familiar clichés (how many films recently end with some parent rushing to their child’s theatrical production?), but at least they seem to be clichés and elements that Smith feels are worth something. Much cute kiddie stuff can be expected, but the strength of Jersey Girl is the earnest appeal of the characters. Some sequences are laugh-out-loud funny (like Affleck discovering his daughter and a neighbor boy engaging in the time-honored game of “doctor”), but there are just as many small character beats that could have you feeling some emotion. A late exchange between Ollie and his father (George Carlin) is heartwarming, as is the final image of the movie, a father and daughter embracing and swaying to music. Jersey Girl proves to be a sweetly enjoyable date movie from one of the most unlikely sources.
Nates Grade: B
Kevin Smith returns back to his comedy roots. No more movies with a message (Chasing Amy and Dogma) it’s back to good ole’ snowballing and stink palming. His latest, Jay and Silent Bob Strike Back, is like a giant thank-you card to all his fans that have made the man who he is today. It ties up the entire View Askew universe so Kevin can drift off into uncharted ventures of film making and not have to keep referencing the same damn characters. Plus there’s plenty of good-natured vulgarity to go around.
The plot of Jay and Silent Bob is nothing too heavy but seems to keep the film on a continuous pace, unlike the sometimes stagnant feel Mallrats had (what, they’re in one location for 90 minutes). It seems that after getting a restraining order at the Quick Stop on them, Jay and Silent Bob learn that Miramax is making a movie from a comic book that is in fact based off of them. Learned of the riches they could make they seek out the comic’s author Holden McNeil (Ben Affleck’s first appearance in the film) and demand a piece of the pie. Holden tells them that he long ago sold his right to his partner Banky Edwards (Jason Lee, in his second appearance in the film) and that there’s nothing they can do to stop the film. Jay suddenly gets the idea that if they stop the movie from ever getting made then they don’t have to worry. So off go our stoner duo on a mission to sabotage and satirize Hollywood.
Along the way are a hitch-hiker (George Carlin) advising the best way to get a ride is to go down in your morals, a confused nun (Carrie Fisher), the cast of Scooby Doo offering a ride (which will be 100x funnier than the feature film coming out this summer), a beautiful band of international diamond thieves (Eliza Dusku, Ali Larter, Jennifer Swalbach-Smith, Shannon Elizabeth), a rescued chimpanzee, a dogged Wildlife agent (Will Ferrell), and a full barrage of hilarity once Hollywood is finally hit.
The best barbs are laid out by Ben Affleck and Matt Damon bickering about the other’s film choices on the set of Good Will Hunting 2: Hunting Season. This moment is truly inspired and full of great humor from Gus van Sant too busy counting his money to yell action to Damon turning into a vigilante hero. I almost fell on the floor laughing during this sequence.
When Jay and Silent Bob hit Hollywood is when the comedy starts hitting its stride as this Jersey Greek chorus interacts with the Hollywood life and encounters many a celebrity. The jokes are usually right on target except for Chris Rock’s performance of a racism obsessed film director. Rock’s portrayal becomes grating to the moviegoer far before it’s over, though he does get a few choice lines.
Smith as a director has finally elevated his visual art into something that can sustain itself instead of his earlier just-hold-the-camera-and-shoot movies. There are pans, zooms, quick cuts, cranes, action sequences, and even CGI. Smith is evolving as an artist but still staying his “dick and fart joke” self, and Jay and Silent Bob Strike Back is evidence. And that’s fine by me.
Nate’s Grade: B
In a time where simply having faith in anything, let alone religion, is scoffed at, Kevin Smith daringly and passionately expresses his personal search for answers and understanding. But while the zealots decree Dogma as blasphemy, what they truly miss is the biggest commercial for faith and God that American audiences have seen in decades of cinema.
The story of the religious epic causing all the hubbub begins with a pair of fallen angels (Ben Affleck and Matt Damon) spurned from the pearly gates of Heaven and banished to Wisconsin. One discovers a re-dedication of a church imploring a little used Catholic practice of plenary indulgence allowing whoever to enter through the church’s arches to have their slate cleaned of all sin. The two seize this opportunity of a dogmatic loophole to sneak back into heaven. The only slight problem is that by doing so they reverse a decree of God and disprove the Almighty’s unfallability, and thus will wipe out all of existence. The voice of God (Alan Rickman) recruits a lapsed Catholic named Bethany (Linda Fiorentino) for a Holy Crusade to halt the scheming angel’s plans for the good of the universe. Along the way she is aided by two unlikely prophets (the dynamic duo of Jay and Silent Bob), an racially discredited 13th Apostle (Chris Rock), and a shapely strip-teasing muse (Salma Hayek) as they engage with demons, seraphims, angles, and all sorts of celestial “who’s who” to stop the end of existence.
Smith’s direction has taken strides since the point-and-click days of his earlier works; however, there’s still an awkward flatness to his framing and action. Fiorentino plays the role of a grounded character well. Rickman as the bitter Brit shows why he can still take anyone toe-to-toe for acting chops. Affleck and Damon have terrific chemistry together and play off one another for great comedy. Jason Mewes has never been funnier as the terminally stoned and foul mouthed Jay. Rock shows he can restrain his abrasive personality. Salma shows… well she shows she can dance. Jason Lee as an air conditioning-adoring demon and George Carlin as a used car salesman type Catholic Cardinal are so commanding in their presence and excellent in their performances that it’s a sin most of their scenes were cut during editing. Even Alanis Morrisette works as a humanly childish God. She’s given no lines but expresses great feeling and humor anyway.
Dogma is rambunctiously hilarious and a never ending joyride of fun as it jumps from jokes about demons made of excrement to “Buddy Christs” to insightful and sensitive thoughts on religion. Rarely does it bore even with the large plot it must always keep in successive movement. The only drawback Dogma suffers from is the amount of religious points it desires to make. The characters will reach a subject, chat, then directly move on to the next. The sporadic nature can easily keep an audience’s head spinning, but is brought back down to gentle rest from Smith’s Divine wit and sharp writing. Some of the opus’ many characters appear for only brief stretches as Hollywood’s A-list battle for valid screen time among each other.
Smith is not one to shy away from controversy, or his quota of sexual innuendos and profanity. But the protestors for this film attacking its vulgarity are beyond missing the point; Dogma is reaching people the church hasn’t and can’t. It may be an audacious tweaker of a flick, but ultimately it’s bringing up religion into open debate and discussion amongst the masses where there was none before. And isn’t that in itself glorifying some type of achievement?
It would do well the opponents of Dogma to venture into a darkened theater sometime to see the movie and realize it is a humorous affirmation of faith and beliefs. The story of a crisis of faith is relatable to a society too jaded and cynical. Smith’s wrestle with theology is the public’s gain, and his halo only glows a little brighter for having the courage to do so.
Nate’s Grade: A-