Dogma (1999)

 "Bethany, bless the sink!"

I watched, and enjoyed this film, many years ago but, as often happens as the decades pass- and I am not, you understand, in any way confessing to being middle aged- I remembered very litttle. Last night was pretty much a second first viewing.

And it's superb. As a comedy, it's bloody good, with a constant stream of laughs. Linda Fiorentino is perfect as the star. Chris Rock and Alan Rickman are both brilliant. George Carlin is perfect casting as a down-with-the-kids cardinal. Some dodgy angel wing CGI aside- and we can be forgiving, because it's 1999- there's not much wrong with this.

It is, of course, a very different beast from the very '90s slacker romantic comedies for which Kevin Smith had previously been known, although there's a fair bit of that sort of thing here. But the religious stuff is obviously going to come across as provocative, not least with Bethany working at an abortion clinic and (spoilers!) the plot requiring God's life support machine to be switched off. Casting Alanis Morissette as God is, of course, entirely uncontroversial.

And yet... I don't get this film to be mocking faith, or religion itself, in any way, but rather the reactionary and socially conservative structure that eventually inserts itself around every religion. I've never had any religious faith myself, I wasn't brought up with it and am simply unable to believe in something without empirical proof, but even I was moved by Bethany's drunken nostalgia for a time when she had a childlike, simple faith. But perhaps this film also hints at a deeper truth. Divine or not, this Jesus person seems to have been anything but conservative.

Chasing Amy (1997)

 "Since you like chicks, right, do you just look at yourself naked in the mirror all the time?"

Time for another View Askewniverse film in my meandering marathon... and this one is not only bloody good, but beneathe the humour it explores some rather serious themes. Don't get me wrong, I like good films of any genre, but I tend not to seek out many romantic comedies because, well, I'm a bloke. Sometimes, I feel, even the good ones can have a very superficial, greetings card view of love and relatiobships. Yes, Richard Curtis, I'm looking at you.

This film is not like that. This is real.

I've seen this film before, at uni, but that was, ahem, a couple of years ago. I've lived a lot and loved a lot since then. And, well, 1997 was a long time ago. At least, I hope fewer men today are as much of a dick as Holden.

It's interesting looking back into an age when acceptance of LGBT issues (although the T wasn't thought about much back then) was evolving. The twentysomething characters here don't approve of bigotry, the word "homophobia" exists, although quite new, and, as illustrated by Banky, we have that by now dated trope that men who are bigoted about gay men are in denial about their own sexuality.

But the crux of it all is the sexual politics between women and men. Because Alyssa is completely wonderful- witty, funny, kind, fun and basically an amazing person. Holden is very lucky that she loves him.And she does. She gives up her friendships to be with him. She gives him everything.

He doesn't deserve her. He goes all wobbly because... she dares to have a sexual past while being female. Yep, double standards again. And very immature attitudes to threesomes, ployamory and sex in general, skewered brilliantly by Kevin Smith. He destroys both his relationship with the love of his life and his relationship with his best friend. His heart is broken. Good. Serves him right. But breaking Alyssa's heart is unforgiveable. We get an ambiguous ending... Holden doesn't deserve a happy one.

This film is mature, devastating, superbly acted and written, and has some very nice directorial touches. There's also some bloody good humour, as we'd expect, and a great character in Hooper. Silent Bob, of course, steals the show.

This is, overall, a far more serious film than its two predecessors. It will break your heart. But it's very, very good indeed.

Mallrats (1995)

"And don't ever lose that nipple!"

Finding a quote for a Kevin Smith film is not exactly the most difficult thing ever, which says something in itself.

Ok, this isn't quite as good as Clerks. It's similar- a geek-cum-romantic comedy with slapstick, wit, heart and profound '90s-ness, but it doesn't have the art house look or the hard hitting ending, nor is thereas much depth behind the humour and the cool. This is Kevin Smith by numbers, with a moderately bigger budget.

But you know what? If this is what Kevin Smith comes up with when he's relatively uninspired, I'll take it. It may not be his best work, but it's still awesome. In fact, it's awesome for the deliberately Road Runner-esque scenes of Jay and Silent Bob trying to get past the security guard and destroy the stage. Stan Lee gets an awesome cameo. The Easter Bunny gets a damn good kicking. Some excellent points are made about Superman's sex life.

The performances are superb. Jason Mewes is excellent as Jay, and we see a lot more of him and Silent Bob, always a good thing. But it's the central comic performance of Jason Lee who holds the film together. The Blind Date-style conclusion is neatly done and, unlike in Clerks, the two sets of lovers are back together by the end. The slacker will forever remain a '90s trope; sunce the 2008 crash, and certainly now, it stands revealed as a luxury from a more prosperous era. But the geek, nonetheless, shall inherit the Earth/.

Clerks (1994)

 "She broke your heart and inadvertently drove men to deviant lifestyles."

I haven't seen this wonderful film since I was at uni. What took me so long? It is, first of all, hilarious. But, for this fortysomething, it's so gloriously, nostalgia-inducingly '90s, and my '90s. The '90s of slacker culture, Grunge, Douglas Coupland and lumberjack shirts. Oh, and landlines and video stores.

The soundtrack is glorious too- Soul Asylum, Bad Religion, proper '90s stuff. But the film is far more than just a comedy. The structure is based on Dante's Divine Comedy. Yes, I know it's filmed as it is because it was made on the cheap, but it looks so wonderfully arthouse, which somehow works.

The characters are superb too. The put-upon Dante, our audience identification character who isn't even supposed to be here today, seems decent on the surface. But there's no two ways about it: he's being unfaithful to his very lovely girlfriend, and gets what he deserves.

Both he and Randal are aimless in their McJobs, suitably for the zeitgeist but reflecting a more prosperous age where such directionless apathy was a luxury that could be afforded. We explore that lifestyle here, with Randal at least having some self-awareness.

Most of all, though, the comedy is wonderful, real, inspired, and contains nuggets of wisdom. I can certainly confirm milkmaids exist. I am a bearded example. I'll get the latest date no matter what.

I think it's going to have to be full steam ahead with the View Askew-niverse for me. It's been too long.

Masters of the Universe: Revelations- The Poisoned Chalice

 "Cry havoc and let slip these cogs of war!"

I was going to blog The Boys tonight, as I like to alternate. Alas, I'm pushed for time, so the shorter alternative it is.

This is another brilliant episode, shattering the staus quo of an old early '80s filmastion cartoon by removing the reset button and introducing an arc, an ever-changing status quo and a milieu in which any character can die- as Tri-Klops (Henry Rollins!) says, we are no longer in an era of Skeletor's repeated absurd and moribund plans. We're all fortysomethings now, after all.

At firt, it seems as though we have a story of the week to introduce a new staus quo as Teela and her new friend, some time having passed, work as mercenaries. We get a whiff of Stinkor, played by Jay of "and Silent Bob" fame.

We also get a fascinating elaboration of the backstory. Magic is dying, as in Visionaries. Tri-Klops is leading a cult of cyborg technology, complete with body horror transformations. Eternia was the first planet, and both it will rot without magic. A newly cynical Teela, and Andra, must quest for the two halves of the sword of power, in Heaven and Hell. With Evil Lyn. 

The plot thickens, deepens and becomes more interesting. This is such a fresh take. I love it.