Genre: Mystery, Thriller, Drama, Religion, Political, Revenge, Gangsters, Disturbing, Experimental, Period Piece, Melodrama, Murder, Doctor
Tagline: A quiet little town not far from here.
Plot: This is the sad tale of the township of Dogville, in the Rocky Mountains, up where the road came to its definitive end near the entrance to the abandoned silver mine. The residents of Dogville were good, honest folk and they liked their town. The house in which Tom (Paul Bettany) lived was the best – in good times it might almost have passed for presentable. Tom’s father (Phillip Baker Hall) had been a doctor and now received a modest pension. Tom was a writer, but in order to postpone the day when he would have to put pen to paper in earnest, he had come up with a series of town meetings on the subject of moral rearmament. Every evening at seven, when Martha (Siobhan Fallon) chimed the hour, Tom headed to the Henson home in order to inflict upon his childhood friend Bill (Jeremy Davies) yet another humiliating defeat at checkers. Some folks might say the opportunity to meet Bill’s older sister Liz (Chloe Sevigny) was more of a draw than the checkerboard and they might be right. That night as Tom strolled home through Elm Street (a sentimental soul from the East Coast had once dubbed their main street “Elm Street” though no Elm tree had ever cast its shadow in Dogville) he heard gun shots in the valley below. Tom sat down on the old lady’s bench to think but was
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 Unlike most serious filmmakers who demand your trust, Mr. von Trier solicits it with a supercilious smirk, then mocks your emotional expectations with a teasing ambiguity.--Stephen Holden (The New York Times)
Von Trier doesn't miss a beat in the rhythm of this audacious theatrical drama, superbly performed by the entire ensemble cast and poignantly underscored by John Hurt's narration--frequently in the guise of an ancient Greek chorus.-- (Boxoffice Magazine)
To sum up, Dogville is, quite simply, a masterpiece. Moreover, its three hour running time feels remarkably short. At any rate, this is unquestionably worth seeing for its brilliant direction, superb performances and its provocative, moving script, not to mention John Hurt’s Oscar worthy narration. Highly recommended.  --Matthew Turner (ViewLondon)
Controversial, intelligent and daring, Dogville features a career-best performance from Nicole Kidman.  --Nev Pierce (BBC Films)
Confronting viewers with an ugly picture of themselves that some may not wish to see, this fable of corruption, exploitation and vengeance in a one-dog town is a classic story told in a bold new way, with never a dull moment. 8/10--Anton Bitel (Movie Gazette)
A brilliant tale of intellectual awakening. 92/100--Jon Lap (Apollo Guide)
It’s an unforgettable picture, not because of violence, politics, nor performances. But because it’s an original thought seen through to its inevitable conclusion. It’s acceptable to disagree with Von Trier’s worldview, but you cannot deny his audacity or vision. A---Brian Orndorf (FilmJerk.com)
What I will say is that “Dogville” builds towards the most unexpected, riveting climax since raining frogs. It brings in a perfectly cast figure who takes part in a downright Shakespearean confrontation, and everything that came before is elevated in theprocess.  --Kevin N. Laforest (Montreal Film Journal)
Such bleakness is what we've come to expect of Lars von Trier, but the style is something new, and very welcome. -- (The Independent)
Lars von Trier is back. Another experimental venture into the darkest areas of the human mind. And the man has outdone himself. This is even more depressing than Dancer In The Dark. But still ,oh so good. Amazing performances from the cast makes this oneof the must-sees of the year.-- (eFilmCritic.com)
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 | Paul Bettany
A Beautiful Mind, The Da Vinci Code, Master and Commander: The Far Side of the World |
 | Blair Brown
Space Cowboys, The Astronaut's Wife, Altered States |
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| After two more hours, however, the novelty has diminished considerably, and even a shocker ending can't add convincing emotional weight to what comes across mainly as a stylistic conceit. -- (Hollywod Reporter)
Lars von Trier's Depression-era fable has been labeled "anti-American," but it's even worse: It's anti-human.--Charles Taylor (Salon)
There is potential in the concept of the film, but the execution had me tapping my wristwatch to see if it had stopped. Few people will enjoy seeing it once and, take it from one who knows, even fewer will want to see it a second time.  --Roger Ebert (Chicago Sun-Times)
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