No one has ever skewered the Catholic Church quite like Kevin Smith did with Dogma, a wholly original, densely verbose, punishingly funny stage play of monologues, satirical jabs, cynical skits and cheeky lampoons that showcase the kind of idiosyncratic, acid tipped penmanship that only The Smith can bring us. It’s my favourite of his films, mainly because of how original the humour is, based in reality but blasted off into a stylized fantasy realm that gives a galaxy of perky acting talent room to pontificate and sink their teeth into immense passages of rich dialogue that are any actor’s dream. Also, it’s just such a unique, surreal experience in terms of casting and characterization; where else can you see beloved thespian Alan Rickman get his sillies out as the sarcastic Metatron, an asexual being who serves as the voice of god and the spiritual tour guide to adorable protagonist Linda Fiorentino (whatever happened to her?), who’s the chosen one in a holy not so holy crusade of angels, demons and religious figures all given the Royal Smith twist. There’s Ben Affleck and Matt Damon as Loki and Bartleby, two hedonistic fallen angels who squabble at each other and rebel against heavenly management, causing quite the cosmic ruckus. Salma Hayek does a transfixing go-go dance to rival her slinky number in From Dusk Till Dawn as The Muse, a shapeshifter who helps them battle an excremental (that’s a demon made of poo, before you ask). It goes on with sterling work from everyone including Chris Rock, Jason Lee, Bud Cort, George Carlin, Janeane Garofalo, Gwyneth Paltrow and those two adorable slackers Jay & Silent Bob, who wouldn’t miss a Smith outing for the world. Oh, anyone who casts the already angelic Alanis Morisette as God should be given a hefty raise. It’s a tough film to summarize or even capture the spirit of with a written passage, as it defies description, shirks standards and makes no apologies. Anyone from the Clergy who took any offence clearly missed the point though, this is satire and lighthearted at that, with only a dash of the kind of jaded ill will a film like this could have had. This is Smith’s world, and the characters who populate it are larger than life yet still feel real, never boring and always have something to say, be it thoughtful rumination or effervescent silliness.