Dogma
Kevin Smith
1999/2025, 130 mins.
“All of this is about revenge”
What a marvellous coincidence that this 25th anniversary of director-writer Kevin Smith’s masterpiece should coincide with a new—American!—pope being installed in the Vatican. It’s just another confirmation that the beloved creator of Jay (Jason Mewes, seemingly more raunchy than ever) and Silent Bob (Smith dutifully nodding, winking, or quietly springing into action—with a couple of notable utterances) stepping up to the lens in a timeless tale of meeting God on her own terms.
Having seen the film in its first release year (at the behest of my son who taught me more than I might ever let on), the extraordinary vision of Smith to some all these years later says much about his especial understanding of the world around him and his craft.
Here in 2025, it’s not difficult to see the parodied Angel of Death (Azarel, Jason Lee fiendishly fulfilling the role), as present-day Trump (whose sort-of-denied AI portrait as the world’s next pope, deftly shows the shameless self-induced superiority of both) easily ring a church bell for liars and connivers everywhere.
The pair of disgraced angels seeking redemption and a way back into heaven (Matt Damon seldom better as Loki; long-time buddy Ben Affleck truly winging his part in more ways than one) can certainly find their counterparts in Pete Hegseth (whose recent discretions make the probability of heavenly acceptance as likely as losing three fighter jets from an aircraft carrier) or Pam Bondi (destined to be sent to purgatory more as comeuppance than “How could that happen?”). Meanwhile George Carlin, the all-seeing, club swinging, truth-oblivious vicar most definitely has an alter ego with the also oblivious-to-reality Howard Lutnick.
Then none better than Chris Rock to fall from the heavens, bare-assed and immediately move the production up a few notches playing Rufus, the 13th Apostle in all of his Black glory.
From there the discussion as to whether Jesus was Black or woman cues much of the fun and biblical games as all of the principals make their way to New Jersey for a redemption/demotion scene that is bound to keep new fans and old in their pews.
Along the way, hearing lines like “Everything I am has been a lie” and “All of this is about revenge” or “Like a patriot” further glues this comedic classic to our president-day comedy of errors.
A relook or first view is highly recommended, just be careful to be on the lookout for any heavenly hosts falling your way, before wondering along with the cast, “Why are we here?” JWR
Little Buddha
Bernardo Bertolucci
1993/2025, 123 mins.
What do you believe?
The coincidences just don’t stop. This 4K remastering of Bertolucci’s testament to unflinching faith appears not only coincidentally with Dogma but also just as the Vatican chooses a new pope. While the former is purposely irreverent, the latter is a model of reverence, perseverance and belief of the highest order—most especially of reincarnation to choose a successor rather than the white smoke in a chimney method.
At the centre of it all is Prince Siddhartha (Keanu Reeves making an early name for himself, deftly sporting eyeliner and readily displaying a royal chest that attracts admirers of all stripes). The young heir is purposely “locked up” in his father’s castle in order to spare him the reality of hunger, illness and death that abounds outside of the palace walls. Once discovered, a life of plenty soon opts for “living as they do” and thus the Buddha is born.
Centuries later, Siddhartha’s next incarnation is sought by Lama Norbu (stoically done by Ruocheng Ying) and his faithful disciple Champa (a model of loving servitude is Jigme Kunsang). Then before you can say, “How’s your Buddha?”, three very young contestants are discovered in Seattle (of all places!) and Katmandu are found: Blonde haired, game for anything Jeese (Alex Wiesendanger), extra-precocious Raju (Raju Lal) and at-times-uppity Gita (Greishma Makar Singh).
Keeping a familial look on Jesse and his fellow “contestants” (are multiple reincarnations possible?—discover for yourself!) are Jesse’s parents Dean (Chris Isaak) and Lisa (Bridget Fonda) neither of whom add much to the script (Bertolucci, Rudy Wurlitzer and Mark Peploe).
Now in its new cinematic clothes, this film is well worth a relook (or first viewing), even while bending trees and unexpected falling petals serve as a welcome reminder as to the mysteries of life then and now even as we all hope for better things to come. Perhaps the next Buddha and newly minted Pope can help with that noble task. JWR