The Beverlys, Season 1 (Series Review)

Plot Summary

Tommy Blaze Beverly is running out of money, and his constant hustles for quick cash aren’t yielding what he needs to fund his extravagant California lifestyle. Thus, when he sees a news story about foster girls in need, he jumps at the chance to make some extra money by becoming an instant foster parent basically overnight. Thankfully, his racially stereotyped butler and personal assistant are always there to meet Tommy’s beck and call, and the foster girls basically turn his house into a giant dance studio designed to hold daily auditions for the next Disney role. What could go wrong?

Production Quality (1 point)
In keeping with PureFlix’s typical sitcom elements, the first season of The Beverlys is complete with a constant laugh track, an annoying soundtrack, and the same old sets, locations, and props. While some production elements, such as video quality, audio quality, and camera work, are fine, these limiting factors put a damper on whatever small potential it had. The editing is also littered with stock footage and corny transitions between scenes. Thus, this section only warrants a point, but this is just the tip of this season’s iceberg of problems.

Plot and Storyline Quality (-2 points)
Essentially, The Beverlys appears to be designed as PureFlix’s own version of the Disney Channel. Its first season is full of mindless conversations, dance sequences, and cheesy so-called comedy routines that are all funny for the wrong reasons. This doesn’t even mention the constant stream of extremely forced comedic diatribes and painfully shoe-horned Christian messaging. What makes matters worse is that the storylines are not only pointless but that the dialogue is littered with cringe-worthy racial stereotyping, which causes this section to be negative. Besides this, the characters are very over the top and empty at the same time. The fact that stupid antidotes are forced on the viewer just after the audience sees thinly veiled racism is very disingenuous and offensive. Further, the premise of each episode is utterly pointless, and there’s nothing good going for this season, which is why the derogatory elements overcome this section to make it negative.

Acting Quality (-2 points)
Tommy Blaze departs from his usual corny performances to post a collection that’s in-your-face, bombastic, and annoyingly over the top. Most of the other cast members in this tiny cast are also trying way too hard as many emotions are basically screamed (or sang) at the audience. Line delivery is also very strained and forced. There is very little good to speak of, and the bad greatly outweighs anything positive, which is why this section also warrants negative points.

Continuity Quality (0 points)
The eight episodes of this first season are all literally the same thing over and over again. They all take the same page from the sitcom playbook and find different ways to package it: some silly escapade or scheme entangles the characters, and they have less than half an hour to quickly resolve it and prepare for the next round. This time, however, it’s just done with a Bible thought spin. Therefore, this copy-and-paste model of episode writing warrants no points for this section, which rounds out an overall embarrassing effort.

Conclusion

Another month, another pointless PureFlix original series. For some reason, the PureFlix executives are intent on spending their funds on throwaway concepts like The Beverlys. It’s unlikely they are getting any type of return from this kind of bizarre Blaze pet project, so why make it? It just further adds to the nonsense littering PureFlix’s checkered past and contributes to the already tenuous perception of Christian entertainment. Hopefully, however, things are beginning to look up outside of the PureFlix realm.

Final Rating: -3 out of 14 points

January 10, 2020January 11, 2020 by Box Office Revolutionary Categories: Comedy, Inspirational, Series Reviews, SitcomTags: 2019, Anna Zielinski, Brent Ryan Green, Brie Duplechain, Comedy, David A. R. White, Evelyn Preston, Gregg Binkley, Grey Hour Production Services, Hannah Marchant, Herman Rosales, Inspirational, Jamie Grace, Mia Damico, PureFlix, Raya Sunshine, Sitcom, Tommy Blaze, Toy Gun Films, Walker Hays, Zenobia Groves Leave a comment

Malibu Dan the Family Man, Season 2 (Series Review)

Plot Summary

Just in case you didn’t get enough stereotypical PureFlix stupidity from the first season of Malibu Dan, the old gang is back with a new ‘season’ that they refuse to call a season for no reason.  This collection of new episodes (totally not a season) offers more of the same stick-your-finger-down-your-throat humor we had from Season 1, only with an even cheaper production setup and a smaller cast.  It’s basically like the second season of Hilton Head Island: nobody asked for it and nobody cares that it’s here.

 

Production Quality (1 point)

Now that we’re on the topic of Hilton Head Island, the Whites and company borrowed their horrible green screens that make everyone and everything have an obvious outline, like they’re cardboard cutouts.  Oh wait…  But I digress.  As previously mentioned, this non-season of Malibu Dan has even fewer sets than the first and even more reuses of the same old ones.  This gives it an overall cheap feel, and it goes without saying that the ‘blooper episode’ is virtually indistinguishable from one of the other episodes because it merely depicts the cast acting like idiots, which is what the other episodes are all about anyway.  Did we mention that this new non-season of no one’s favorite sitcom contains another endless and obnoxious laugh track that cues every five seconds whether the scene is supposed to be funny or not?  Basically, the only thing keeping this entire mess from 0 points or less is the fine video and camera quality, in conjunction with professional audio work.  But that theme song gets annoying over and over again.  As a whole, there isn’t much good to say here.

Plot and Storyline Quality (0 points)

What could be done in a new non-season that wasn’t done in the first season?  This new batch of episodes that’s totally not a season is virtually indiscernible from the other season, but it’s actually possibly worse due to the painfully-forced so-called comedy that contains nothing funny whatsoever.  Basically, this collection of fingernails-in-the-chalkboard creations is just as mindless and ridiculous as regular TV shows that PureFlix and their audience would complain about.  Malibu Dan no better than something typical you would see passing by on cable TV as it has just as little potential and just as little hope for any.

Acting Quality (0 points)

Whenever the old PureFlix gang gets together (see Hitting the Breaks, Holyman Undercover, and Me Again), they are content to act like imbeciles.  The only consolations this second season cast provides to us is that Jennifer Lyons makes a long-overdue cameo to continually make a fool of herself and that Carey Scott reprises his insultingly fake European accent from Holyman.  Steered by the comedic anti-genius of David A. R. White and the sadistic mind of Tommy Blaze, Malibu Dan offers more of the same absurd and zany acting from the expertise of Brad Heller.  What’s surprising is that Kevin Downes still puts up with this nauseating experience when he has much better things to do.  The constant funding of this insanity is beyond us.

Continuity Quality (0 points)

The second season of Malibu Dan takes on the typical mistakes of sitcoms, besides not developing characters properly, by repeating the same thing over and over again in each episode with no continuity between them.  Episodes exist in its own isolated universes as each one appears to have no bearing on another.  It seems like they were all filmed in one day with no story-boarding, which is a likely method that has been employed by PureFlix in the past.

Conclusion

With not much else to say, it’s time to address the obviously elephant in the room (no, it’s not David A. R. White dressed up again).  What’s the point of randomly pretending that this collection of new episodes isn’t a new season?  It’s a very common practice to release an entire season at once with streaming series like this one.  Nevertheless, one must take a step back from this mess that’s so easy to make fun of in order to examine what the true state of Christian series is.  What are we really accomplishing?  Is there any true inspirational or culture-changing value to things like Malibu Dan?  I can’t even foresee a monetary gain in it.  This begs the question “What is it even for?!?!?”  The only answer we can discern is that it’s just another outlet for the twisted comedy desires of White and Blaze, which further goes to show the true darkness behind the PureFlix giant.  Needless to say, let’s hope Kevin Downes wipes this from his memory (again) and is able to help the Erwins produce a truly good TV series next year.

 

Final Rating: 1 out of 14 points

 

November 21, 2018December 31, 2018 by Box Office Revolutionary Categories: Series Reviews, SitcomTags: 2018, Andrea Logan White, Aria Walters, Brad Heller, Carey Scott, Cheryl Ladd, Chris Blount, Comedy, David A. R. White, David de Vos, David Rasche, Dual Visions, Gregg Binkley, Jennifer Lyons, John O'Hurley, Jon Kondelik, Kelly Stables, Kevin Downes, Lauren Harper, Madeline Carroll, Mark Christopher Lawrence, Matt Shapira, Philip Morton, PureFlix, Sitcom, Tommy Blaze, Victoria Jackson 5 Comments

Malibu Dan the Family Man, Season 1 (Series Review)

What DARW does best

Plot Summary

Malibu Dan and Holidae Sinclair run the southern California early morning show Good Morning Malibu.  Dan is always getting himself into comedic scrapes, while Holi is always looking for a better media offer.  They work with a goofy but likeable crew, but most of all, Dan considers himself to be a devout family man.  What else could go wrong in Tommy Blaze’s latest zany comedic endeavors?

 

Production Quality (1.5 points)

Much like Hitting the Breaks, Malibu Dan the Family Man is a sitcom with an average production, which means it comes with that annoying laugh track again.  There are also other sound effects used now, however.  Another annoying aspect of the sitcom genre is the use of ridiculously fake backgrounds and cheaply limited sets, as well as a total lack of actual locations.  Props are fine, however, as are other standard production elements, such as camera work and video quality, which keep this production from being totally worthless.  However, the editing also suffers from lack of creativity as it is quite choppy.  In the end, however, these few production positives are the only ones that exist in this unnecessary series.

Plot and Storyline Quality (0 points)

If Tommy Blaze and company were so desperate to make another sitcom, why not just make another season of Hitting the Breaks?  Malibu Dan is really no different—just some rearranged characters and different cast members.  Who would have noticed if some cast members changed for a new season of Breaks?  As it is, Malibu Dan includes the same old tired and ridiculous messages Blaze and David A. R. White have been hanging out to dry for years, such as an absurdly stark gender divide, their patronizing view of Generation Y, and the endless pursuit of media fame and stardom.  As usual, David A. R. White is the bemused husband\father who gets himself into a comedic venture that solves itself in twenty minutes or less.  Everything is the same, and there is nothing new in PureFlix.

Acting Quality (0 points)

With the same old egotistical PureFlix cast members—the Whites, Brad Heller, Kevin Downes, Gregg Binkley—Malibu Dan throws in a few more, such as comedy staple Victoria Jackson and Erik Estrada with a few more plastic surgeries since the last time we saw him.  Regardless of the changes, the zaniness and the over-the-top non-subtlety is still present and still makes for an eye-rolling experience as the leadership of Blaze continues to push ‘Christian’ comedy to the limits of absurdity.  The other cast members are swept along in the wave of nonsense and must wonder how they got stuck with this crew.

Continuity Quality (0 points)

Sitcoms are not made for continuity.  There are no story arcs or character arcs as each episode exists within its own twenty-minute bubble in which all conflicts introduced are promptly and easily solved in time to tack a trite Christian antidote onto the end.  Thus, no points can be awarded here.

Conclusion

As long as the PureFlix faithful continue to garner funding for these frivolous projects, they will keep making them to satisfy their longings to parade themselves around like idiots in the name of Christian entertainment, ever in the pursuit of fame and stardom, just like the characters they portray.  They are as shallow as the comedy they create, but as un-ignorable as David A. R. White’s bombastic displays of idiocy.  They project themselves as the leaders in Christian film and the saviors in a dark world of Christian persecution, but if this is all we have to lead us, it’s no wonder so many people scoff at Christian media.

 

Final Rating: 1.5 out of 14 points

 

January 15, 2018January 19, 2019 by Box Office Revolutionary Categories: Comedy, Series Reviews, SitcomTags: 2018, Andrea Logan White, Anton Fair, Antonio Sabato Jr., Aria Walters, Brad Heller, Clint Howard, Comedy, David A. R. White, David de Vos, David Pires, Don DiPetta, Erik Estrada, Francisco Ovalle, Gregg Binkley, John O'Hurley, Jon Kondelik, Kelly Stables, Kerry Lynne McHugh, Kevin Downes, Laura Reilly, Lauren Harper, Mark Christopher Lawrence, Matt Shapira, Pat McNeely, Philip Morton, PureFlix, Robin Givens, Robin Miller, Sarah Malberg, Shari Rigby, Shelley Robertson, Sitcom, Tim Pipher, Tommy Blaze, Victoria Jackson 6 Comments

Hitting the Breaks, Season 1 (Series Review)

Plot Summary

After racecar driver Randy Wilcox crashes his car in a race, his family convinces him to retire.  Thus, he decides to move the bed and breakfast in rural Colorado that his father willed to him.  What the Wilcox family finds there is a lack of modern conveniences and a collection of quirky characters who live eccentric lives.  Yet through the comedic mishaps they endure, they begin to like their new home, despite the inconveniences.

 

Production Quality (1.5 points)

Though the production of this series looks good on the surface, it really just boils down to a silly sitcom.  Video quality is fine, but camera work has a lot of shortcuts taken in it due to the genre.  The genre also brings with it an obnoxious laugh track, as if we are to believe that this was recorded in front of a live studio audience.  However, other audio quality is fine, even if the soundtrack is extremely generic.  Furthermore, sets and locations are severely limited, once again due to the sitcom genre.  Finally, editing is very standard and uninspiring.  Basically, PureFlix still knows how to make things look good on the outside without any real substance.

Plot and Storyline Quality (0 points)

Much like past comedy projects from the bizarre minds of David A. R. White and Tommy Blaze, Hitting the Breaks is one half lazy and one half downright zany and nonsensical.  Full of cheesy small town characters that are obviously copycatting other films and series, one has to endure constant reality television confessionals that litter the series.  In these ten episodes, each one follows a predictable formula: David A. R. White gets himself into some comedic escapade and then has to get out of it in twenty minutes or less to leave himself time to read a ‘life lesson’ from his father’s journal at the end that attempts to force a purpose into this madness.  These ‘life lessons’ are laughably cheap Christian messages, thus leaving the series pointless and purposeless.  Most of the comedy isn’t even funny, whether it’s for the right reason or the wrong reason.  The dialogue is chock-full of stupid catchphrases and caricatures as everything generally gets zanier and less explainable as the series progresses.  In the end, it’s like they just run out of ideas and find a random way to end it.  Basically, there is little to no point in this mess.

Acting Quality (.5 point)

For this barn-burning cast, PureFlix trotted out ever crazy person they have ever had in their films and put them all together in one place.  Everyone is as absurd as can be expected, especially the Whites, Kevin Downes, Moran Fairchild, and everyone’s favorite Jennifer Lyons.  Gregg Binkley makes a special spectacle of himself throughout the series as he tries desperately to be the new Barney Fife.  It’s surprising that Tommy Blaze didn’t make an appearance in this cast, yet the cast of Ray Wise is actually appropriate for once and saves this section from the abyss.  But it’s still not good enough to count for much.

Continuity Quality (0 points)

With extremely short episodes that repeat the same formula over and over again, it’s safe to say there is no continuity here.  There are no story arcs or characters arcs to speak of.  Thus, there is nothing good to say here either.

Conclusion

Once again, PureFlix is one step ahead of other film makers by breaking new ground for Christian entertainment.  Though this is the first legitimate Christian sitcom, that doesn’t mean it’s any good.  The PureFlix crew basically just packaged up all the craziness they’ve had pent up since Me Again and put it all into one wild series just for the sake of making it.  There is zero purpose and no clear direction here and it only further serves as an embarrassment to Christian entertainment.  Needless to say, the world is still waiting for a truly legitimate and interesting Christian series, which is something that is obviously very difficult to come by.

 

Final Rating: 2 out of 14 points

 

September 12, 2017January 19, 2019 by Box Office Revolutionary Categories: Comedy, Series Reviews, SitcomTags: 2016, Alyson Stoner, Alysoun Wolfe, Andrea Logan White, Anna Zielinski, Bill Heavener, Brad Heller, Brian Herzlinger, Burt Reynolds, Carrot Top, Chris Coppola, Comedy, Darrell Vickers, David A. R. White, David de Vos, Eamonn McCrystal, Elizabeth Hatcher-Travis, Gabriel Sabloff, Gianna Simone, Gregg Binkley, James Immekus, Jennifer Lyons, Josh Herren, Julia Duffy, Kevin Downes, Michael Scott, Michael Sinclair, Morgan Fairchild, PureFlix, Randal Reeder, Ray Wise, Reginald VelJohnson, Rob Schneider, Shanna Strong, Sitcom, Stephen Petree, Steve Billnitzer, Taylor Autumn Bertman, Tim Tebow, Tiny Ron, Tommy Blaze, Tyler Jacob Moore, Tyler Rhoads 11 Comments

The Moment After 1 (Movie Review)

The old days

Plot Summary

In one moment, millions disappear and in the next moment, millions are left to wonder what just happened.  As the government tries to sort out the pieces, they send out FBI agents to investigate those left behind (haha).  Adam Riley and Charles Baker are just the agents for the job and they soon become caught up in an intrigue involving trying to find a mysterious former Jewish rabbi who seems to have special powers.  In the end, which path will they choose as the world descends into chaos?

 

Production Quality (1 point)

Made in the late 1990s, The Moment After 1 has considerable production deficits.  Though video quality is decent and audio quality is okay throughout, there is a lot to be desired here.  Sets and locations are pedestrian and action camera shots are not what they should be.  The soundtrack is also very standard.  There is really no editing present as the plot slogs from one thing to the next.  In the end, this is just another below average production that does not live up to full standard.

Plot and Storyline Quality (0 points)

Another year, another carbon-copy apocalyptic film.  Likely a precursor to every unfinished PureFlix apocalyptic idea (Jerusalem Countdown, In the Blink of an Eye, and the Revelation Road series), The Moment After 1 really has nothing to offer.  Empty characters, stock dialogue, and a predictable apocalyptic progression.  Rapture, fallout, Christian explanations and lingo, government takeover, blah, blah, blah.  This film offers nothing special and adds nothing to Christian entertainment.  It’s inevitably continued and offers no real surprises as Kevin Downes and David A. R. White interview a bunch of people about stuff.  Basically, if you watched any of the above mentioned films, you’ve probably seen this one.

Acting Quality (1 point)

Though Brad Heller posts a better performance than usual, David A. R. White and Kevin Downes are their usual action-here-wannabe selves.  Though there are no truly embarrassing performances, there are no dynamic ones either.  Line delivery and emotions are below average and don’t really inspire.  Like the rest of film, this is just unimpressive.

Conclusion

Apparently there was a point in Christian film when creators thought the only action or suspense plots that could be made had to involved the Rapture and another apocalyptic lingo and concepts.  The LaHaye pre-tribulation theory has been conceptualized in film too many times to count, and the The Moment After 1 simply adds to the pile.  There is simply nothing interesting to note in this film and you’re definitely not missing anything.

 

Final Rating: 2 out of 10 points

February 13, 2017January 11, 2019 by Box Office Revolutionary Categories: Apocalyptic, Movie Reviews, SuspenseTags: 1999, 2 points, Affirm Films, Amanda Llewewllyn, Angela Francis, Angela Robinson Witherspoon, Apocalyptic, Bobby Downes, Brad Heller, Christiano Film Group, D. David Morin, David A. R. White, Dewayne Coleman, Don Parker Decker, Dree Coleman, Erin Johnson, Gregg Binkley, John Gilbert, Judith Peterson, Kevin Downes, Kevin Indio Copeland, Marc Fantini, Marianne Faucher, Mel Faucher, Mike Wilson, Monte Rex Perlin, Paul R. Jones, Suspense, Teres Byrne, TMA Productions, Troy Winbush, Wes Llewellyn 2 Comments

Holyman Undercover (Movie Review)

The Split Personality of David A. R. White

Nobody believes that stupid beard is real

Our reaction to this movie

Plot Summary

When Roy, a ‘young’ Amish man, supposedly turns 18, it’s time for him to go on his ‘Rumma Shpringa’, the time when all Amish ‘young’ folks go out into the world to hopefully discover how evil the world is and come running back to their drab lifestyle.  But Roy is determined to not only find his long-lost uncle, who disappeared to Hollywood on his ‘Rumma Shpringa’, but also to witness to the heathen of the world about Jesus Christ.  But what he finds instead is a cold world with no care for the things of God.  Roy finds his uncle, who advises him to jump into the show business in order to covertly share the gospel.  Roy runs into all sorts of odd characters along the way, including a producer he’s attracted to, who entices him to play Satan on a daytime soap opera.  But the further he does into the showbiz game, the more Roy finds himself compromising all he has been taught.  Which set of values will prevail?

 

Production Quality (.5 point)

If Holyman Undercover has anything going for it, it does have pretty good video quality.  But that’s where the positivity ends.  Camera work is all over the place, obviously trying to be ‘funny’ and ‘comedic’.  Audio quality is fairly consistent, but cheesy sound effects interrupt it.  The sets and locations are purposely cheap-looking, and the surroundings are clownish, like they’re from a comic book.  I could go on about how the editing is poorly done, but it doesn’t really matter because it’s all purposeful.  This film was purposely created to be ridiculous, and that’s exactly what it is.

Plot and Storyline Quality (-1 points)

Watching Holyman Undercover is a surreal experience unlikely to be replicated by anything else—expect for Me Again.  From slurs against the Amish to blatant and rude Hispanic stereotypes to gigantic strawmen of Hollywood insiders, this film really takes the cake.  As the split personality of David A. R. White, manifested in his two-character acting role, jumps from one random schizophrenic scene to the next, the audience can only laugh and look on at this train wreck of a creation.  Yet if you look past the zany madness that is this storyline, you can see truth emerging from the cracks.  This is a wild and embellished retelling of how the Whites began their film careers.  Coming from a strict Mennonite upbringing, David A. R. White must have felt like he was confined and not allowed to create, yet his stint in Hollywood has given him a chip on his shoulder the size of Kansas (pun intended) that makes him feel like the entire world is against Christians.  But in his usual extreme black and white thinking, the false dichotomy between overly strict Christians and hopelessly evil ‘worldly’ people is far outside of reality.  There is nothing real about this plot, and we believe that it was never intended to be real.  This is a sick satire, borne from the damaged emotions of David A. R. White, yet it is a window into what makes him tick.  But in the midst of trying to be over-the-top hilarious, there is zero coherency to this madness.  It would certainly be one thing if this creative wonder had a consistent thought across the continuum, but it does not.  There is no understanding of what and why goes on, or what is coming next.  It’s basically an embarrassing failed attempt at parody.  On the flipside, it’s a shame that a drug commercial satire idea got wasted in this movie.  Otherwise, Holyman Undercover can be seen as nothing more than a big joke that wasted over a million dollars.

Acting Quality (-1.5 points)

This clownish bunch of cast members is only lacking in Tommy Blaze, Morgan Fairchild, and David Blamy.  The actors and actresses have obviously been instructed to act as zany and stereotypical as possible, from the mentally ill ‘uncle’ David A. R. White, to the robotically mindless Andrea Logan White, to the histrionic Jennifer Lyons, to the egotistical Fred Willard, etc., etc.  Also, nothing beats Carey Scott trying to be a European maître d’.  David A. R. White has basically let himself out of the box in this one and acts as maniacal as he possibly can.  There is truly no seriousness here and a lot of lines seem adlibbed.  Emotions are blown out of proportion and line delivery is either lazy or forced.

Conclusion

The mind boggles as to how and why the Whites acquire so much money for films like this one.  Just think—what if the million and a half dollars blown on this train wreck was put toward a film that actually needed it, one that could have actually used the money for something good.  This is perhaps the real travesty with this film and with PureFlix in general.  Sinking millions of dollars into dead end films designed to make fun of stereotypes is a terrible use of God’s blessings.  This is why we continue to call the White and PureFlix out: wasted money and wasted potential.  Hopefully, one day, the tide will finally change and Christian movies will be something to be proud of.

 

Final Rating: -2 out of 10 points

August 15, 2016January 16, 2019 by Box Office Revolutionary Categories: Comedy, Movie ReviewsTags: 2010, Amish, Andrea Logan White, Brad Heller, Carey Scott, Clint Howard, Comedy, David A. R. White, Edie McClurg, Fred Willard, Gregg Binkley, Guy Birtwhistle, Jennifer Lyons, Jill Gatsby, John Schneider, Josh Sussman, negative points, PureFlix, Rumma Shpringa, Russell Wolfe, Sean Paul Murphy, Staci Keanan, The Amish Factor, Timothy Ratajczak, Tiny Ron, utter nonsense 3 Comments

Hidden Secrets [2006] (Movie Review)

Plot Summary

Following the death of a common friend, Gary, Jeremy, Michael, Harold, and Sherry all gather at his house for a long weekend of repairs and catching up on the good old days.  However, all is not well among them.  Jeremy discovers that he still love Sherry, his former girlfriend, even though his current girlfriend is staying with them.  Michael is guarding a dark secret from his past.  Gary and Harold’s wife constantly clash over his Jewish background and his atheist beliefs.  In the end, they will have to come to grips their hidden secrets in order to face the future.

 

Production Quality (0 points)

There is literally nothing good to say about this film’s production quality.  The video is grainy and the sound quality is all over the place.  The camera work is unprofessional.  Everything about the production has a very cheap identity.  The sets are severely limited, mostly taking place inside one house or on its roof (yes, seriously).  The editing is terrible, but it’s not like there was much to work with.  Roof repair scenes, standing around and talking scenes, and thrift store dress-up scenes litter the landscape.  But nothing can beat David A. R. White mouthing a Building 429 song and pretending like he’s singing it.  As previously mentioned, there is nothing positive here.

Plot and Storyline Quality (.5 point)

There is only one positive element to discuss from this entire film, and that is its slightly interesting exploration of the various types of secret sins many Christians harbor.  Otherwise, the remainder of this film is utter nonsense.  The dialogue is almost written purposely ridiculous.  One character is an over-the-top, obnoxious, legalistic Christian who is the only one, in her mind, who can interpret the Bible properly.  It would be funny if it wasn’t so unwatchable.  The atheist character is equally annoying.  Other dialogue is absurd and overly obvious, shoving issues down viewers’ throats.  There is also no clear plotline to this movie except for repairing a roof, hanging around talking and arguing on various controversial topics, reminiscing about the good old days, playing dress-up in a thrift store, and pretending to sing in a cheap restaurant.  Any good intentions there were in making this movie are buried beneath a mound of insanity.

Acting Quality (0 points)

No acting coaching is employed in Hidden Secrets.  Actors and actresses are allowed to basically run wild with the material with no quality control.  Line delivery is forceful—several actors and actresses are clearly trying to draw attention to themselves.  Emotions are also extreme and unbelievable.  Once again, there is nothing good to say here.

Conclusion

There is a base idea in Hidden Secrets that should have been given to another film.  Unfortunately, Carey Scott, Sean Paul Murphy, and Timothy Ratajczak have not demonstrated that they are good stewards of movie ideas.  To make this sort of movie shows one of three things—they either do not care about making quality movies, they do not fully know how to make quality movies, or they are purposely making low quality movies.  What type of audience is supposed to derive meaning from this sort of movie?  For many reasons, this movie receives a very low score.

 

Final Rating: .5 out of 10 points

 

February 15, 2016January 18, 2019 by Box Office Revolutionary Categories: Comedy, Inspirational, Movie ReviewsTags: 1/2 point, 2006, Albert Chang, Andrea Logan White, Autumn Paul, Brad Heller, Building 429, Carey Scott, Comedy, Corin Nemec, David A. R. White, Gregg Binkley, Inspirational, Interrupting Church Services, Jason Borck, Jason Roy, John Schneider, Michael Scott, Mouthing Songs, Obnoxious Christians, Playing Dress-up, PureFlix, Rachel Lampa, Reginald VelJohnson, Russell Wolfe, Sean Paul Murphy, Sean Sedgwick, Staci Keanan, Timothy Ratajczak, Tracy Melchior, Working on a Roof 3 Comments