Forgiven [2016] (Movie Review)

Plot Summary

When a desperate criminal takes a pastor and his two daughter hostage within the church after a Wednesday night service, the police are forced to take drastic measures to keep the victims safe. However, the criminal is mostly confused and unsure of what he wants to do. Thus, the pastor and his daughters do what they can to help him. Will the situation be resolved before it’s too late?

Production Quality (2.5 points)

Besides a few exceptions, Kevan Otto’s more recent productions have contained higher levels of quality than his previous efforts. There’s a continuation of this trend in Forgiven. Video quality, camera work, and audio quality are all professional. Sets, locations, and props are standard. There are only a few minor editing issues, but this fact doesn’t prevent this section from receiving a high score.

Plot and Storyline Quality (.5 point)

This film is based on an interesting suspense idea although the hostage situation is half-hearted at best. Additionally, the characters are one-dimensional, including a criminal who doesn’t really seem to be committed to anything and generally lacks deeper motivations for his behaviors. Stock and unsubstantial dialogue do nothing to improve the blank characters even though this character-based plot desperately needed real conversations to keep it going. Too many empty scenes fill time rather than create meaningful arcs. It felt like that the writers just wanted to skip to the end instead of make the audience want to watch the build-up. Many sequences are very boring and preachy, espousing a cheap Christian message about going to church to act right. Though the conclusion is slightly interesting, it’s difficult for the view to make it there, and it’s hard to understand why the basically perfect and unrelatable protagonist even wanted to help the criminal character. Very narrative-heavy and character-light, this story needed a lot more fleshing out to truly enhance the potential within. Thus, only a meager rating is warranted here.

Acting Quality (2 points)

As a whole, the acting in Forgiven is pretty good. For the most part, emotions are realistic, and line delivery is acceptable. Some performances are better than others, and some cast members are more believable than others. Due to the small cast, errors are more noticeable, which is why this section only receives an above-average score.

Conclusion

At this point, it seems like that Kevan Otto and his team know how to craft a pedestrian, acceptable-on-paper screenplay. However, to truly succeed, they will need to go further than this. Otto has proven that he can improve production quality over time, so it’s time for him to employ better writing talent to create more engaging narratives with more accessible characters. Otherwise, average ratings will be the norm.

Final Rating: 5 out of 10 points

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May 20, 2021May 20, 2021 by Box Office Revolutionary Categories: Drama, Inspirational, Movie Reviews, SuspenseTags: 2016, All Entertainment, Allee Sutton Hethcoat, Atonement Pictures, Ben Graham, Brad Allen, Casey Fuller, Chuck Howard, Destined Media, Drama, five points, Green Apple Entertainment, Inspirational, Jenn Gotzon, Jenn Gotzon Chandler, Kelsey Sanders, Kevan Otto, Kevin Sorbo, Lamont Roberts, Lloyd S. Wagner, Maggie Schneider, Martin Michael, Michael Criscione, Reegus Flenory, Spenser Fritz, Stu Goldberg, Suspence, Tom Sanders Leave a comment

The Gift of Christmas [2020] (Movie Review)

Plot Summary

After George and Allen Barnett went across country to fulfill their father’s dying wishes, both brothers came back changed men. For the holidays, George asks him brother for a favor: bringing home the prodigal daughter of George’s friend. As such, Allen and the woman embark on their own cross-country journey of good deeds, learning a lot about each other along the way.

Production Quality (1.5 points)

As a whole, the production in this film is average. This is due to clear video quality yet inconsistent lighting: some shots are either poorly lit or overly lit. Camera work and audio quality are acceptable except for some background echoes, and a generic soundtrack sometimes covers up other sounds. There are also some obvious overdubs and continuity errors that seem avoidable. Further, the editing is passable, but some scenes linger too long. Thus, due to the mixed bag, a middle-of-the-road score is warranted.

Plot and Storyline Quality (0 points)

Much like its predecessor, The Good Journey, The Gift of Christmas fails to adequately engage its audience. This is due to cardboard characters that are built with expository dialogue rather than the deep conversations that are needed to support a character-based plot. Vague and blank sequences don’t offer much interest, and many scenes simply waste time. Some concepts seem under-explained, and the overall messaging teaches that simply going to church fixes everything. Despite some slightly interesting ideas that are very slow to develop and somewhat aimless, the narrative wanders around until everything is magically fixed in the end. It’s hard to believe the resolutions, and it makes matters worse that the vague story doesn’t hold the attention. Hence, with no tangible potential, no points can be awarded here.

Acting Quality (1.5 points)

The acting of this is fairly vanilla. There aren’t any particularly bad performances to point to, but no standouts can be found either. At times, the emotions and lines are robotic and stilted. However, other times, the acting is acceptable. Thus, this run-of-the-mill section rounds out an overall underwhelming effort.

Conclusion

Did anyone really ask for a sequel to The Good Journey? Many audiences never even knew that the first movie existed, much less a Christmas installment. These two screenplays are the perfect example of making entertainment just for the sake of it. Some slightly interesting ideas were included, but nothing was enough to truly engage the viewer. Half-hearted attempts are still hurting the field’s reputation, which means we still need quality over quantity.

Final Rating: 3 out of 10 points

December 10, 2020 by Box Office Revolutionary Categories: Christmas, Drama, Inspirational, Movie ReviewsTags: 2020, 3 points, Brandon Arthur Jones, Bridgestone Multimedia Group, Brooks Roseberry, Bruce Davison, Chris Petty, Christmas, Dee Wallace, Drama, Gabrielle Stone, Inspirational, J. Barrett Cooper, Jeff Prater, Jenn Gotzon, Jenn Gotzon Chandler, Jim E. Chandler, John B. VanMeter, Marissa Ghavami, McCarron Stith, Nathan Todaro, Silver Hills Pictures, Takayla Williams, Tom Whitus, Tyler Browne Leave a comment

The Farmer and the Belle: Saving Santaland (Movie Review)

Plot Summary

Belle Winters is a model who’s been told that she’s aging out of the business. Thus, she decides to revisit a place from her childhood to find the secret to true beauty, which she believes was found on a bracelet she left behind. However, when she returns, she once again crosses paths with the pen pal she thought forgot about her. In seeing him again, what Belle finds is unexpected.

Production Quality (1.5 points)

Despite being average, The Farmer and the Belle isn’t quite good enough for a 2020 production. Video and audio quality are good, and sets, locations, and props are acceptable. However, camera work is randomly shaky at times. The generic soundtrack is sometimes too obvious for the situations it’s played in. Editing is quite choppy as some scenes cut off prematurely. Nonetheless, there’s some improvement as the film goes on, but it’s still just run-of-the-mill.

Plot and Storyline Quality (.5 point)

Surprisingly, this plot begins with good attempts to develop character motive via a flashback prologue. Though the often-expository dialogue leaves a lot to be desired, there’s actually a basic narrative focus, including obvious themes albeit slightly juvenile ones. The tongue-in-cheek comedy is sometimes funny and sometimes not. At times, things happen simply because the writers want them to, and convenient turns transpire simply to suit the story’s purposes. The middle of the plot wastes a lot of time, seemingly kicking the can down the road, and a few sequences seem too staged and forced to exist. Overall, there is some potential in this section, but the contrived nature of the narrative and the lack of strong characters holds it back from being all that it could be.

Acting Quality (1.5 points)

Due to the back and forth nature of this section, the final score comes out as average. At times, the acting is professional while other times, it isn’t. Line delivery and emotions are overall inconsistent. Some scenes are more dramatic than others, but it’s not all bad. In the end, this mixed bag caps off an mostly underwhelming effort.

Conclusion

Movies like Saving Santaland are neither bad enough to be remembered nor good enough to be upheld. In the end, this screenplay is likely to fall into the same bin with other forgettable Christmas offerings that clamor for the attention of audiences. It’s definitely possible that holiday films are more likely to be viewed, so why not give the watchers something to remember rather than forget?

Final Rating: 3.5 out of 10 points

November 17, 2020 by Box Office Revolutionary Categories: Christmas, Comedy, Drama, Inspirational, Movie Reviews, RomanceTags: 2020, 3.5 points, Adele Chandler, Amy Sutherland, Beckah Shae, Benji Russell, Betty Sullivan, Billy Falcon, Bob Sáenz, Chip Lane, Christmas, Comedy, Corbin Bernsen, Delilah, Derrick Warfel, Drama, George D. Escobar, Henry Cho, Inspirational, Isaac Hernandez, Jade Froeder, James Covell, James M. De Vince, Jeff Rose, Jenn Gotzon, Jenn Gotzon Chandler, Jesse Medeles, Jim E. Chandler, Joe Battaglia, Joel Bunkowske, John Schneider, Justin Peters, Laura Mae Poore, Livi Birch, Mona Barros Langham, Natasha Bure, Reuben Evans, Richard Swingle, Robert Amaya, Romance, Roxzane T. Mims, Sandra Ellis Lafferty, Sophie Ma, Starla Christian, Terry Chase Chenowith, Wes Llewellyn Leave a comment

First Lady (February 2020)

Coming to theaters February 14, 2020

Writer(s): Nina May

Director(s): Nina May

Producer(s): Nina May

Cast: Nancy Stafford, Corbin Bernsen, Stacey Dash, Bejamin Dane, Melissa Temme, Jenn Gotzon, Burgess Jenkins, Tanya Christiansen, Gabriela Kostadiniva, Paul Milotte, Griffin Duy, Joel King, Robert Shepherd

Plot summary: A romantic comedy about a woman, not married to the president, who runs for the office of First Lady. However, she winds up getting a much better proposal than she ever expected. She is torn between a promise and her calling.

February 8, 2020February 8, 2020 by amg16 Categories: Movie ReviewsTags: Bejamin Dane, Burgess Jenkins, Corbin Bernsen, February 2020, First Lady, Gabriela Kostadiniva, Griffin Duy, Jenn Gotzon, Joel King, Melissa Temme, Nancy Stafford, Nina May, Paul Milotte, Robert Shepherd, Stacey Dash, Tanya Christiansen, Upcoming Movies and Series 1 Comment

The Reliant (October 2019)

Coming to theaters October 24, 2019 from Fervent House Media

Website

Writer(s): Patrick Johnston

Director(s): Paul Munger

Producer(s): Patrick Johnston, Elizabeth Johnston, Paul Munger, Brian Bosworth, Kevin Sorbo, Eric Jellison, Tim Schmidt, Doug Yeary, Betty Yeary

Starring: Kevin Sorbo, Eric Roberts, Brian Bosworth, Mollee Gray, Jenn Gotzon, Julia Denton, Kevin Wayne, Ian Lauer, Blake Burt, Josh Murray, Kiera Strauss, Brian Friday, Marisa Hampton, Tyler Sanders, David Benham, Jason Benham, Tim Schmidt, Nicole C. Mullen, Rusty Thomas, Nico Zahniser, Jesse Boone, Jonathan Bocinsky

Plot Synopsis: When the dollar collapses, widespread rioting and looting ensues, and five children tragically lose their parents in the chaos. Armed with a couple of their father’s weapons, they are able to survive in a stretch of woods on the outskirts of their burning town. Facing starvation and threats from encroaching gangs, they begin to doubt God’s love. Will God answer their prayers, or must their faith remain blind to facts?

August 16, 2019August 16, 2019 by Box Office Revolutionary Categories: Upcoming Movies and SeriesTags: Betty Yeary, Blake Burt, Brian Bosworth, Brian Friday, David Benham, Doug Yeary, Elizabeth Johnston, Eric Jellison, Eric Roberts, Fervent House Media, Ian Lauer, Jason Benham, Jenn Gotzon, Jesse Boone, Jonathan Bocinsky, Josh Murray, Julia Denton, Kevin Sorbo, Kevin Wayne, Kiera Strauss, Marisa Hampton, Mollee Gray, Nico Zahniser, Nicole C. Mullen, Patrick Johnston, Paul Munger, Rusty Thomas, Tim Schmidt, Tyler Sanders, Upcoming Movies and Series 33 Comments

Saving Faith [2017] (Movie Review)

Plot Summary

Faith Scott and her uncle Donny live in the struggling small town of Clifton, Tennessee.  Everything’s closing down in town, and people are either strapped for cash or leaving the area.  Thus, the theater that has been in their family for years is on the brink of foreclosure, which is the delight of the evil local businessman Peter Marsh.  Thus, Faith and Donny decide to schedule a desperation attempt to save the theater: a Christmas in June show featuring big names in Christian music.  Will it be enough to save the theater and even the town from extinction?

 

Production Quality (2 points)

The good thing for Chip Rossetti is that he has shown great production improvement over his movie career.  This fact is also evident in Saving Faith, as evidenced by great video quality and camera work.  Sets, locations, and props are mostly fine, if not a little quaint.  However, the soundtrack can be too loud at times, and there are a handful of unnecessary background sounds, as well as some cheesy sound effects and special effects.  Moreover, the editing is pretty good, thus rounding out a slightly above-average production.

Plot and Storyline Quality (0 points)

Unfortunately, there is little to nothing creative about the plot of Saving Faith as it follows a stereotypical save the _____ with a holiday show plotline.  The progression of the story is very predictable, as are the characters involved.  A good portion of the characters are also cheesy and generally eccentric, such as the head-scratching Elvis character (no, it’s not The Rev).  The villain is also ridiculous and over the top; each character fits into a predetermined small-town mold: the local eccentric, the local business owner, and the local evil bank guy.  While there are some attempts to have a good Christian message, all the problems are very easily solved in the end.  The romantic subplot is also awkwardly predictable.  In short, there aren’t many positives to note here.

Acting Quality (1 point)

For the most part, the acting of this film is awkward and overplayed.  It is at least good to see Jenn Gotzon and Jim Chandler star opposite each other as a couple.  There are some good moments in this cast, but for the most part, unfortunately, it is mostly bland or silly.  Thus, this rounds out an unfortunately disappointing and pedestrian film.

Conclusion

There truly is little point in constantly perpetuating this same small-town narrative over and over and over again.  If we need more of that, we can always watch Hallmark.  There is no creativity or authenticity in this concept, unless a film maker wants to explore some legitimate reasons behind collapsing small towns.  Constantly making movies about the ‘good old days’ in the name of Christian film is disingenuous and worn out.

 

Final Rating: 3 out of 10 points

 

March 12, 2018January 1, 2019 by Box Office Revolutionary Categories: Christmas, Comedy, Inspirational, Movie ReviewsTags: 2017, 3 points, Adam Lewis, Amy Grant, Buddy Jewell, Carey Jones, Carl Richmond, Chip Rossetti, Christmas, Comedy, Donna Botts, Donny Richmond, Doris Collier, Henry Cho, Inspirational, Jay DeMarcus, Jenn Gotzon, Jim E. Chandler, Kirk Wright, Lilly Echeverri, Matthew Ulm, Michael LaCour, Michael W. Smith, Phil Vassar, Rick Bucy, Rossetti Productions, Rudy Gatlin, Scott Hamilton, Sean O'Bryan Smith, Sherry Wright, Steve Gatlin, Troy Luccketta, Victoria Jackson, Vince Gill Leave a comment

The Colors of Emily (Movie Review)

Plot Summary

Kate Montgomery is a big city art dealer who travels to a quaint small town to purchase some mysterious paints from a mysterious artist whom no one in the art dealing world knows the true identity of.  However, she is also on the run from her psychologist and her dark past.  While running away, she will have to end up facing everything she’s trying to hide from in the most unlikely ways.

 

Production Quality (1.5 points)

While there are some positive elements in this production, there are also some negative ones.  For instance, video quality and camera work are mostly fine, but there is some poor audio quality throughout.  The soundtrack is also a bit generic.  Lighting can be a problem at times, and the sets, locations, and props are somewhat limited in some areas.  For the most part, editing is fine, even though there are a few too many lagging scenes.  Thus, as a whole, this production is basically average and has some room for improvement.

Plot and Storyline Quality (.5 point)

The Colors of Emily is mostly a departure for the Rossetti group.  This story tries to delve into the psychological\suspense\mystery genre, and it contains interesting attempts at psychological elements, but there is too much wasted time before getting to the substantial mystery elements.  This wasted time mostly consists of tongue-in-cheek dialogue about predictable fish-out-of-water concepts, as well as a seemingly vague premise and loose grip on reality.  At times, the storyline seems very unfinished, and the characters come off as too understated and under-developed.  Further, the villain is fairly cheesy, especially in the ‘climax’ scene that’s full of monologuing.  In short, while there is some potential in this story idea, its final product is too vague and undeveloped.

Acting Quality (.5 point)

Unfortunately, most of the acting in The Colors of Emily is very awkward and not well-coached.  A lot of the cast members come off as too unnatural, although Jenn Gotzon posts a more authentic performance than usual.  Moreover, there are some other strange characters in this cast, and there are too many sequences of yelling and screaming, especially in the suspense scenes.  Overall, there are too many forced lines and emotions to warrant any more than half of point here.

Conclusion

The Colors of Emily has a good idea behind it, but its effort is basically half-cocked and incomplete.  On the whole, the production needs an upgrade, as does the acting.  The storyline needs more clarification and deepening, as do the characters and dialogue.  This film appears to be an example of the importance of taking time to make quality films rather than just making another movie most people are going to forget about.

 

Final Rating: 2.5 out of 10 points

 

March 11, 2018January 1, 2019 by Box Office Revolutionary Categories: Movie Reviews, Mystery, Psychological, SuspenseTags: 2.5 points, 2017, Ann Burnworth, Brittany Mann, Brooke K. Taylor, Brookolyn Newton, Chip Rossetti, David Ross, Diana Schmitt, Donna Botts, Doris Collier, E. Carolyn Tucker, Fire Catcher Productions, Garrison Raftery, Greg Robbins, Jenn Gotzon, Jim E. Chandler, Juli Tapken, K. Leah Scott, Ken Dohse, M.T. Arnold, Mardell Elmer, Mary Arnold, Matthew Ulm, Meghan Larson, Mercedes Carter, Michael Warren, Mystery, Nandar Home Entertainment, Psychological, Quinn Alexis, Ray Graham, Richard E. Wilson, Robert Shepherd, Rossetti Productions, Sean O'Bryan Smith, Sherry Wright, Stanna Rae, Suspense, Timothy Paul Taylor, TPTFILMS Entertainment Leave a comment

My Daddy’s in Heaven (Movie Review)

Plot Summary

When Becca Smith suddenly loses her husband in a tragic car accident, she feels like her world is falling apart.  Then she meets an old friend from the past who decides to introduce her to a new lifestyle of partying and drinking to help drown her sorrows away.  However, Becca is unable to fill the void.  Will she come back to the faith she was always taught before it’s too late?

 

Production Quality (1.5 points)

On the surface, My Daddy’s in Heaven has a fairly good production, as evidenced by some great outdoor scenes and good video quality.  For the most part, camera work is good, except for some weird camera angles.  Audio quality is sometimes too echoed, especially in indoor sets.  Lighting is somewhat inconsistent, including some odd sequences of soft lighting.  There are also some sequences of disorienting sound effects and special effects, but there is some slight production improvement shown throughout, thus warranting an average score.

Plot and Storyline Quality (.5 point)

Unfortunately, though this film is based on a book and tries to have a good point, the storyline is quite thin.  There seem to be a lot of scenes grasping for substantial content as the plot meanders aimlessly and purposelessly for nearly sixty minutes.  During this time frame, a good portion of the time is spent on the main two characters getting drunk.  Dialogue is all over the place, including too many instances of forced comedy.  Though this film is billed as a family movie, there is a lot of embarrassing content within, including long and pointless bar scenes.  However, the last ten to fifteen minutes of the film take a slightly interesting turn based on some intriguing ideas.  Unfortunately, with no buildup to this point and no support from the rest of the film, these ideas are wasted, and there are too many quick fixes employed.  Thus, only half a point can be awarded for this section.

Acting Quality (.5 point)

The two female leads of this cast, outside of a few good moments, do their best to make fools of themselves.  Most of the acting in this film is oddly forced and awkward, but it’s likely that the cast members didn’t have much good to work with in the first place.  There are also some mumbled and whispered lines that make for a frustrating experience.  Overall, unfortunately, there is little good to mention about this film.

Conclusion

While the effort and the heart behind this film might have been there, the good intentions were terribly misplaced.  Production was almost passable, but it’s unsure what the intention of this plot was.  Audiences who are expecting a family-friendly film will likely be disappointed at the number of drunken scenes of this film.  While it great to show the struggles of real people in film, there is a way to do this without being so embarrassing.  Unfortunately, the interesting pivotal scene near the end of the film is out of place and could have been used in a better film.  Better luck next time, I guess.

 

Final Rating: 2.5 out of 10 points

 

March 10, 2018January 1, 2019 by Box Office Revolutionary Categories: Inspirational, Movie ReviewsTags: 2.5 points, 2017, Albert Thakur, Antuone Torbert, Corbin Bernsen, Daddy's Girl Pictures, Dureyshevar, Dustin Harnish, Inspirational, Jack Nasser, Jacob Nasser, Jake Jacobson, Jeff Faehnle, Jenn Gotzon, Jill Morrison, Jim E. Chandler, Joseph Nasser, Kent Rock, Lee Benton, Mark Famiglietti, Mark Tietsort, Nasser Entertainment Group, Nat Mundel, Noelle Nelson, Riley St. John, T. C. Stallings, Victor Warren, Voyage Media, Waymon Boone 1 Comment

Unbridled [2017] (Movie Review)

Plot Summary

Sarah Miller hates her life and wants to escape the clutches of her mother’s abusive boyfriend, but she has no way out.  However, a concerned friend and her fellow college student intervene when she acts strange in class, and they are able to rescue her and help her to start a new life at a shelter.  Sarah is also introduced to Unbridled, a horse therapy center for troubled girls, where she bonds with a stubborn horse.  However, when he mother’s boyfriend comes back for revenge, will she be able to survive?

 

Production Quality (1.5 points)

Though the production of Unbridled begins somewhat rough, it definitely demonstrates care and effort.  There is some shaky camera work throughout the film, likely for dramatic effect.  However, video quality is fine, and audio quality gets better as the film goes on.  Sets, locations, and props are excellently constructed and utilized.  There are some slight ministry ‘product placements’ throughout, but it means well.  One caveat to raise in this production is the very awkward editing throughout.  Some scenes lag on too long, while others are cut short.  Still other scenes appear to be unneeded.  However, despite the issues, this is a great beginning production for the Moving Visions team.

Plot and Storyline Quality (1 point)

As this storyline is based on true events of real people’s struggles, it definitely has its share of positives.  One of these is its excellent use of underlying philosophy that is manifested in well-crafted dialogue.  Thus, this creates believable characters who have unfortunately realistic struggles.  There is also a great portrayal of trauma and mental health in this film, as well good research on the under-explored world of horse therapy.  However, this plot also has its share of drawbacks.  These include some cheesy horse story elements and a lot of unnecessary sidebars and rabbit trails that are underdeveloped.  There are also some concerning plot holes and a lot of scenes that have been read into very much in order to be fully understood.  Thus, some organization of this otherwise good content was definitely in order.  However, it is still likely worth your time to see if only for the good cause of the film.

Acting Quality (2 points)

The acting and casting of this film is somewhat of a mixed bag, as it contains many familiar faces of Christian film.  For one, Eric Roberts is just too much, even though he is appropriately cast as a creeper.  Jenn Gotzon-Chandler is awkward at first, but she gets better as she goes; the same can be said for Rachel Hendrix.  T. C. Stallings is always good, but he has his moments of over-playing.  Tea McKay is a great lead and has a lot of promise for the future.  On the whole, this is an above-average effort that shows great potential for the future.

Conclusion

Unbridled is a rare caused-based film that is worth recommending because it presents a real issue in a way that is not extremely obvious. The creators of this film clearly knew how to portray real people and their struggles.  However, a series of rookie errors kept this film from being all that it could be.  Nonetheless, this is certainly not something that will hold them back in the future, as we believe they will get better as they continue on.  With a few production tweaks and an improved story presentation, the Moving Visions team is going to go great places in the future.

 

Final Rating: 4.5 out of 10 points

 

January 3, 2018January 2, 2019 by Box Office Revolutionary Categories: Animals & Pets, Inspirational, Movie Reviews, SuspenseTags: 2017, 4.5 points, Avery Arnold, Ben Childs, Bonné Bartron, Brandy Renee Brown, Brittney Level, Chase Manhart, Christy McGlothlin, Dakota Lee, Daniel Jacques, David C. Williams, David Topp, Dey Young, Eric Roberts, Gerald McGlothlin, Horse, Inspirational, Jenn Gotzon, Jim E. Chandler, John David Ware, John Demers, Julianne Cabrera, Kelsey Maskell, Kevin Kenny, Leshay Lowery, Lindsey Partridge, Lindsley Register, Logan Manhart, Melissa Lozoff, Moving Visions Entertainment, Nikko Austen Smith, Paul Munger, Rachel Hendrix, Rene Sandler, Rusty Martin Sr., Sarah Beth Short, Savannah Goldsmith, Suspense, T. C. Stallings, Téa Mckay, Terrie Jameson, Troy Buder Leave a comment

Love Different (Movie Review)

Thug life.

Plot Summary

When a dippy white blonde named Jenn Gotzon Lindsay decides to take a job at an African-American marketing firm, she finds herself in the midst of a major culture shock.  So the head of the firm assigns his best marketer, Neque, to help Lindsay integrate into the new culture that she is completely foreign to.  Little do neither of them know that they are both in for a new look at life, not only their own lives, but also the lives of others.

 

Production Quality (2.5 points)

For the most part, Love Different sports professional production quality.  Camera work, video quality, and audio quality are all on par with what they should be.  The soundtrack is a little quirky, but it seems to work.  Sets and locations are adequate for this story.  There is really little to complain about here, except for some choppy editing as this film tends to jump from one supposedly funny sequence to another.  But otherwise, this is what productions should look like, even if the story is greatly lacking.

Plot and Storyline Quality (.5 point)

What. Is. Happening.  From one forced comedy scene to the next and from one quirky racial joke to another, there is no sense here and little method to this madness.  A lot of the time, it seems like these cast members were set free to ad-lib with no real direction except to act as juvenile and silly as possible and to make as many racial jokes as they can get away with.  This story feels like it has the zany influence of David A. R. White, Kevin Downes, and Tommy Blaze, but it does not.  As previously mentioned, this story is really just a loose collection of skits about racial differences with a few ‘meaningful’ scenes sprinkled in.  It’s hard to follow the arc of these characters as one is constantly distracted by the outrageous behaviors of Jenn Gotzon that simply have to be seen for yourself.  A lot of the dialogue constantly refers back to racial differences without truly building these characters beyond their skin color.  Yet believe it or not, there is a powerful message hidden somewhere in the midst of the zaniness, if you stick around long enough to find it.  But in the end, any movie that includes Jenn Gotzon trying to act like she’s African-American cannot be taken seriously.  It’s funny for all the wrong reasons and is simply too much to be true comedy.

Acting Quality (1 point)

Sometimes it seems like this cast has potential.  But then it doesn’t.  Jenn Gotzon is a self-parody in this film with all her antics.  Other cast members seem like they have potential and even have good moments, but they short themselves by acting like fools in attempts to be comedic.  They really seem like they are better than this, which makes this performance overall disappointing.

Conclusion

In the opening credits, God is blamed as an executive producer of this train wreck.  Can I just say, please don’t blame God for your disasters.  There is certainly a place for comedy centered around cultural differences and how we tend to isolate ourselves from different people, but whatever good Love Different was trying to accomplish unfortunately falls flat.  There are simply too many outrageous sequences and purposely over-the-top comedy elements for this movie to fully accomplish its goal.  There are so many memorable moments in this movie that are memorable for the wrong reasons.  From a class dedicated to teaching white people about African-Americans to Bon Quisha and Jenn Gotzon’s thug life, Love Different is one for the history books, but we’re not sure if its original intent will be remembered in the midst of the outrageousness.

 

Final Rating: 4 out of 10 points

 

April 10, 2017January 10, 2019 by Box Office Revolutionary Categories: Comedy, Movie ReviewsTags: 2016, 4 points, Aidan Michael Toth, Anthony Daniels, Anthony Hackett, Ashley Kelley, Audrey Moise, Bon Quisha, chocolate chips, Comedy, Darnell White, David Doggette, David White, Gabrielle Donadio, Jenn Gotzon, Jonathan E. McCottry II, Julian Andre Thomas, Julio Bana Fernandez, just a random black guy, Kevin Fredericks, Leshe Shari, Maurice Brown, Michael J. Patterson, Nicholas Shane Keeton, Nicole Abisinio, Omar Jones, over the top, Professor Black, racial jokes, Rebekah Cook, Reed DeLisle, Sonset Friday Entertainment, Teranee Fransha, Thomas Mikal Ford, thug life, Zina Moore 6 Comments

I Am Gabriel (Movie Review)

Yes, this happens in this movie

Plot Summary

Promise, Texas is a sad town with little hope for the future.  That’s why an angel boy named Gabriel is sent there to fix everything up.  There are several townspeople who wish miracles would happen, and there are others who believe miracles are impossible.  So Gabriel has to show off what he can do in order to convince them are turn them back to God (?).  Will he be able to convince everyone before it’s too late?

 

Production Quality (1 point)

For some reason, this production was invested in.  While the camera work and video quality are fine, there is not much else to redeem this film.  The original soundtrack is okay, but sometimes the music is far too loud.  In an attempt to be dramatic and spiritual, the special effects used are cheesy and childish.  Sets and locations look very cheap and there is generally a lot of wasted time in this film as the story jumps all over the place and demonstrates horrid editing work.  In the end, this is a big disappointment compared to the work EchoLight usually produces.

Plot and Storyline Quality (0 points)

Since this story is filled with heavy-handed melodrama about how hard everything is in the small town, the viewer cannot appreciate the struggles of the characters since they seem so manufactured.  Despite attempts to be ‘interesting’, this plot is very slow and flat and full of wooden dialogue that forces the plot along.  Though there may be some good messages somewhere in this mess, they are made juvenile and silly by the stupid ‘magical’ miracle elements and the child angel premise.  Finally, after jumping from thing to the next and fixing most of the problem subplots, this plot culminates in the dumbest ending ever.  In short, I Am Gabriel started in the horrible position of having no potential and became a self-fulfilling prophecy.

Acting Quality (0 points)

Similarly, this cast starts off already skewed by throwing John Schneider, Dean Cain, and Carey Scott into one movie together.  Thus, the cast lives up to its expectations by being very amateurish and robotic, with quick and forced line delivery.  As a side note, makeup is as ridiculous as the childish angel costuming.

Conclusion

What is the point of even making a movie like this?  A child angel plot is doomed from the start, as is any story including juvenile miracles and quick fixes.  EchoLight should be ashamed of distributing this type of movie because it only makes them look silly.  Movies like this contribute nothing to Christian entertainment and only further create a laughable image of Christian film.  But hopefully that image is changing, slowly but surely.

 

Final Rating: 1 out of 10 points

 

March 14, 2017January 10, 2019 by Box Office Revolutionary Categories: Inspirational, Movie ReviewsTags: 1 point, 2012, 2nd Fiddle Entertainment, Benjamin Dane, Carey Scott, child angels, Dean Cain, Denis Kashoid, Elise Baughman, Gavin Casalegno, Grant James, Greta Norris, Heaven's Promise Productions, Inspirational, Jenn Gotzon, Joe Berryman, John Schneider, Kaci Hill, Larry Jack Dotson, Lynette Elliot, Magic prayer mats, Mary Wheat, Max Carlos Norris, Mike Norris, Neal Odom, Rebekah Kennedy, Rebekah Turner, Robert Grossman, Sheran Goodspeed Keyton, Stephanie Peterson, Steven Thompson Jr., Thomas A Treml, Valerie Norris, Wesley Hathcoat 2 Comments

God’s Country [2012] (Movie Review)

Plot Summary

Meghan Dohery loves making and spending lots of money.  She is on the verge of another multi-million dollar business deal and all she has to do is fly out to the middle of the desert and convince the owners of the land she is trying to buy that they need to take her deal before the bank forecloses.  But little does she know that it’s not going to be as simple as she thinks when the land owners decide she needs to see what life is really like outside of the fast lane for a change.

 

Production Quality (1 point)

God’s Country is a production that is pretending to be better than it is.  This is evident in the use of fake sets and locations.  The video quality and camera work are fine, but the audio quality is inconsistent and the soundtrack is juvenile.  The editing is choppy and there is a lot of reused footage to pump the runtime.  Basically, this is a half-rate effort that takes a lot of shortcuts.  In the grand scheme of things, was it really worth it?

Plot and Storyline Quality (0 points)

God’s Country is an extremely formulaic and childish storyline.  Filled with tons of information dump dialogue, the premise is a ridiculously cheesy and worn out plot about a stereotypical city character being forced to live outside of their element, not to mention a save the camp plot.  All of the characters fit into silly stereotypical molds.  The plot progresses predictably and sometimes even seems to be unintentionally making a joke out of Christians.  The Christian message is plastic and forced and the ending leaves the audience wondering why they just watched this movie.  There is nothing that sets it apart from your average stupid film with a Christian label.

Acting Quality (1 point)

Jenn Gotzon plays herself in this movie, which is what she does best.  Elsewhere, line delivery is very quick and forced and emotions are sappy.  Makeup and costuming are also absurd for certain characters.  This is basically a phoned-in performance.

Conclusion

What is the point of movies like this?  Ripping off a predictable and overused plot idea in a lazy fashion is one of the worst things you can do in Christian entertainment.  Movies like God’s Country only further hurt the reputation of Christian film and make it a laughingstock.  Unless you want to laugh at nonsense, don’t waste your time on this one.

 

Final Rating: 2 out of 10 points

 

March 1, 2017January 11, 2019 by Box Office Revolutionary Categories: Inspirational, Movie ReviewsTags: 2 points, 2012, Arlene Santana, biggest glasses ever, Bob Ross, Cecil Chambers, Chris Armstrong, Damon McCarthy, Daniel Hugh Kelly, Delvin Molden, Diana Hart, Emil Beheshti, Gib Gerard, Gonzalo Menendez, Inspirational, James Covell, James Locascio, Jason Arasheben, Jenn Gotzon, John Atterberry, Kelvin Brown, Laura Gardner, Michael Toland, no signal, Rebecca Klingler, Silent Noise Films, Stephanie Barnes, Suzanne Ford, Todd Duffey 1 Comment

The Good Book [2014] (Movie Review)

Plot Summary

The Bible is a powerful book that has been changing lives for centuries.  A group of people in a small town individually face struggles and circumstances that lead them searching for fresh help, the Word of God comes to them and helps them understand exactly what they need to do.  Each situation is difference and each struggle is unique, but the same Book shows each one the way to go.  This Good Book can do the same for your life.

 

Production Quality (2.5 points)

As an ambitious silent film, The Good Book boasts many professional elements.  The fundamentals—camera work, video quality, and audio quality—are all excellent.  In a silent film, the soundtrack is key, and this one delivers.  An original instrumental soundtrack is very effective with this type of movie.  Sets and locations are also realistic and down to earth.  The only real problem to point out here is the editing, as it is hard to follow where the movie is going.  But overall, this is a high quality production that shows great potential for the future.

Plot and Storyline Quality (1.5 points)

It’s not easy to integrate unrelated multiple storylines in a way that is engaging and makes sense.  However, The Good Book does this fairly well, even though we would have liked to see a little more plot continuity.  There is always going to be a ceiling for silent plots, as dialogue is absent and can only be implied.  Yet this story is understandable and powerful all the same.  The situations experienced by the characters are realistic and relatable.  The ending of the story is powerful and could almost be a movie in and of itself.  In the end, this is a great effort and shows true talent.  When Sharon Wilharm and her team make a non-silent story, they will be a force to be reckoned with.

Acting Quality (2 points)

Silent acting is sometimes better for some cast members (coughcoughJennGotzoncoughcough).  With silent acting, coaching is always needed and thus, the cast members have to work to show emotion, and this usually pays off.   Though silent, what this cast is trying to convey is mostly understandable.  The main caveat here is that it seems like some cast members are trying too hard to express themselves.  But otherwise, this is a good effort.

Conclusion

The Mainstreet Productions team was wise to begin with silent films like this one and Providence.  The Good Book has a powerful and undeniable message and is certainly worth a watch.  We believe Wilharm and company are talented and have a lot of offer to Christian film, so it will be exciting to see what they do next.

 

Final Rating: 6 out of 10 points

 

 

Full disclosure: We were provided by the creator with a copy of this film in exchange for a fair and honest review

 

February 16, 2017January 11, 2019 by Box Office Revolutionary Categories: Inspirational, Movie ReviewsTags: 2014, A. Michelle Harleston, Abbey Rhyne, Amanda Pentecost, Amelia Mann, Apolonia Davalos, B.K. Bomar, Brittany Wilharm, Chance Byrd, Darla Pelton-Perez, Fred Wilharm, Glenn Cartwright, Hayden Gael Barnes, Inspirational, Jayla Palmer, Jenn Gotzon, Joanie Stewart, Joshua Childs, LaQuita Chantelle James, Leanna Robbins, Mainstreet Productions, Omar Lagudali, Rebecca Lines, Rick Holets, Rick Wells, Sharon Wilharm, Sheyla Paz Hicks, Silent, Torry Martin Leave a comment

The Screenwriters [2016] (Movie Review)

Plot Summary

When the great movie producer Chester Mayer threatens the famous screenwriter Stewart Harvey to give him a script or else, aspiring intern Chip Leninskovich steps in to help Stewart, whom he has always looked up to.  Together, they begrudgingly agree to write a script in 24 hours in order to satisfy the hard-nosed producer.  But in the midst of their furious writing, the two men discover they have more in common than they thought.

 

Production Quality (2.5 points)

It’s clear that the Advent Film Group team put their fullest effort into crafting historically authentic surroundings for this film.  Props and the few sets that there are speak to a commitment to being very authentic.  Even the black and white video is effective.  The soundtrack is also reminiscent of the era that is portrayed.  Camera work is professional as well.  There are very few errors to point out here, and they only pertain to editing, as some scenes are too long, while others are too short.  There are also too many montages that try to fill time.  But in the end, this production effort is a job well done—we can’t wait to see it applied to a bigger scale.

Plot and Storyline Quality (1 point)

Unfortunately, the simplistic plot structure of The Screenwriters holds it back from being all that it could be.  The scope of the story is too limited to one room with a handful of people coming and going from it and talking about the past and what they want to do.  Flashbacks would have been helpful to get outside of that room.  Besides this, the plot follows a predictable progression—we actually like the plot the characters were writing better than the actual plot.  We would have loved to see it replicated alongside the main storyline.  Finally, some of the characters in this film are intriguing while some are cheesy.  Effort is put into developing their backstories, but we would have liked to see more.  In short, this plot needed to be more dynamic so that this movie could be all that it could have been.

Acting Quality (2.5 points)

This casting job is surprisingly respectable, considering who the cast includes.  This is perhaps Richard Swingle’s best acting performance to date.  Jason Burkey is better than usual, and Jenn Gotzon is just herself.  The only issues to raise here is some silly emotional delivery and ‘goofy’ elements.  But in the end, this casting is a breath of fresh air.

Conclusion

Advent Film Group is on the verge of something great.  They have assembled the necessary tools to craft a high quality production.  They know how to cast a film and coach the cast members.  All that’s missing now is a dynamic plot.  Like many other almost-there film makers, once Advent solves the plot puzzle, they will be a force to be reckoned with.  We anticipate their next release.

 

Final Rating: 6 out of 10 points

 

Full disclosure: We were provided by the creator with a copy of this film in exchange for a fair and honest review

 

January 27, 2017January 11, 2019 by Box Office Revolutionary Categories: Drama, Historical, Movie ReviewsTags: 2016, 6 points, Advent Film Group, Curtis Louder, David C. Cook, Elizabeth Stinnette, Gary Bosek, George D. Escobar, George Escobar, Historical, Jason Burkey, Jeff Rose, Jenn Gotzon, Jim McKeny, Peter Edward Forbes, Rebekah Cook, Richard Swingle, Sandra Elise Williams 1 Comment

Providence [2016] (Movie Review)

Plot Summary

As Rachel Cartwright and Mitchell Little grew up in the small town of Providence, Tennessee, they each took different paths until finally meeting up.  Though they were together for a while, they lost touch as they grew older and went different paths again.  But even as life takes them in their different directions, they are destined to meet up again no matter what.

 

Production Quality (2 points)

It’s very interesting to take a risk by creating a silent film, and as it turns out, it’s better to have no audio than bad audio.  Additionally, it was wise to fill the sound with an original soundtrack, even though it is sometimes incongruent with the time period the plot is trying to portray.  However, we would have liked to hear more instrumental tracks.  Silent films rely heavily on camera work and video quality, and both of these elements passed the test of professionalism.  There are also historically realistic sets, locations, and props throughout.  The main caveat to raise here is that some scenes tend to lag too long—we would have liked to see more content, but it’s a good start.  Regardless, Sharon Wilharm and Mainstreet Productions demonstrate the ability to engineer high quality productions, and we can’t wait to see them reach the next level.

Plot and Storyline Quality (1 point)

Due to the silence, there is no audible dialogue, only implied dialogue.  This is both good and bad because it limits the mistakes and the rewards.  Nonetheless, the viewer can figure out fairly well what is going on in the story.  However, the storyline is somewhat simple and typical.  Some sequences are too long while others are too short, but there is far more plot content in Providence than in many non-silent films.  We would have liked to know these characters a little better than we do, but that’s just a limitation of silent plots.  In the end, the plot is okay, yet we feel that this plot could have been a little more complex than this.

Acting Quality (2.5 points)

It is definitely difficult to act and to acting coach in silent films, yet both are pulled off well in Providence.  These cast members show better emotions than some non-silent films—for the most part, we really know what is going on, and that’s a huge accomplishment.  While there is some historically inauthentic costuming, most of it is good.  In short, this is a professional performance.

Conclusion

We were wary of silent films before seeing Providence, but it seems like having no sound makes everyone, especially the cast, try harder to improve quality.  While silent movies may not be the future, this is definitely a good place to jump start from and to use to improve into greatness.  The good news for Christian film is that after an extended wilderness of the early 2000s, movie makers are finally moving to the point of higher production quality.  Providence is an example of this trend.  Mainstreet Productions shows great promise for the future and we look forward to what they have planned next.

 

Final Rating: 5.5 out of 10 points

 

 

Full disclosure: We were provided by the creator with a copy of this film in exchange for a fair and honest review

 

 

January 9, 2017January 12, 2019 by Box Office Revolutionary Categories: Inspirational, Movie ReviewsTags: 2016, 5.5 points, Anita Cordell, Chase Anderson, Desi Weaver, Emily Knapp, Fred Wilharm, Hudson Meek, Inspirational, Irene Santiago, Jenn Gotzon, Joey McFaddin, Josh Allen, Juli Tapken, Julianne Fincher, Katie Pavao, Mainstreet Productions, Marcy Conway, Patricia Binkley, Rebekah Cook, Richard Swingle, Sean O'Bryan Smith, Sharon Wilharm, Silent, Stacey Bradshaw, Tucker Meek 2 Comments

Right to Believe [2014] (Movie Review)

What a strange idea…….

Plot Summary

Tony Morris, a reporter for a local newspaper, suddenly finds his faith tested when he is instructed by his maniacal boss to cover a local gay pride parade.  This assignment consists entirely of him interviewing a gay activist in a coffee shop to get that hard hitting piece done.  As they argue back and forth on a wide variety of topics and employ outdated textbook arguments, the audience is left breathless in wonder.  The plot twists and turns even more when Tony and his plastic wife discuss his occupational dilemma while sitting on the world’s most hideous couch (pictured above).  Suspense builds when a random gun-wielding man threatens the lives of the two debaters.  In the end, as the film’s original soundtrack asks us, will anyone have the right to believe?

 

Production Quality (0 points)

Being forced to sit through this docu-drama should be a crime.  With poor video quality and amateurish camera work, Right to Believe is a loser in every possible way.  The lighting is very inconsistent in the three sets that are used to film this wonder.  That’s right: there’s only three sets.  Audio quality is the pits, especially when you’re compelled to have the most obnoxious non-Hallmark soundtrack shoved into your ears, complete with the garage band original number that shares its title with this movie.  To round things off, prop usage is high school caliber.  In short, this is perhaps the cheapest looking production we have ever witnessed.

Plot and Storyline Quality (0 points)

This is not a plot.  There is zero plot content and the entire film consists of two long-winded coffee shop debates on homosexuality, sin, Christianity, and other related topics.  Both sides of the issue use strawman arguments, like the Christian character saying that sin is worse in modern times because of technology.  The portrayal of the gay character is cringe-worthy.  Despite there only being three or four main characters, there is no development of any of them as we are forced to watch them stiffly converse in a coffee shop environment and lounge on the world’s most hideous couch.  They are talking points robots programmed to say stereotypical things.

No one will be converted based on the empty arguments offered by either side of the issue.  There’s really not much else to say here except for this film is a total embarrassment.

Acting Quality (0 points)

With literally eight cast members to work with, the acting should be flawless due to efficient acting coaching.  This is not the case (shocker).  More than half the time, spoken lines are indiscernible and mumbled.  There are no realistic emotions to speak of.  But after reviewing the other elements of this film, who’s really surprised?

Conclusion

At the end of this film, there is a black and white epilogue depicting the main character’s confession article as an internationally acclaimed piece, even appearing in Chinese and Russian (?) newspapers and books.  Are we really supposed to believe this is the case?  The writers were obviously bigger in their own heads.  If they really wanted to craft an unforgettable epic on the Christian response to homosexuality, they should have taken more time to actually listen to the other side rather than paint them as illegitimate and stupid.  There is no care or thought in this film as sensitive issues are clinically diagnosed and ‘fixed’ with empty arguments and rhetoric.  In some ways, Right to Believe is an example of the sad state of the American church: cold, unfeeling, entitled, and somewhat delusional.

 

Final Rating: 0 out of 10 points

 

September 26, 2016January 15, 2019 by Box Office Revolutionary Categories: Drama, Inspirational, Movie ReviewsTags: 0 points, 2014, Chip Rossetti, Christopher Hunt, Clay Evans, coffee shop drama, Donald James Parker, Inspirational, Jenn Gotzon, long-tailed cats in a room full of rocking chairs, Markus Porter, Matthew Ulm, Rossetti Productions, strawman arguments, that evil technology, Timothy Paul Taylor 4 Comments

Princess Cut (Movie Review)

Plot Summary

Grace has had her share of heartache when it comes to romantic relationships.  She feels like men have played games with her heart, even though she desperately wants to find the right man to spend the rest of her life with.  She looks to her parents for guidance, but she also wants to be her own woman.  After she finally hits rock bottom when a man treats her in a way she does not feel is appropriate, she decides to make changes in her life and to stop seeking men.  Little does she know that true love could be right around the corner.

 

Production Quality (1 point)

The production of Princess Cut is its one redeeming quality, but that still isn’t saying much.  The video quality is clear and the camera work is passable, except for in-shot zooming.  The editing is decent, but the sound quality is the biggest detractor here.  Many scenes are obviously overdubbed because of the lack of a boom mic.  Some sound is hard to hear and there are quite a few musical montages that cover up what could have been valuable dialogue.  Also, the sets are severely limited; too much content takes place off screen.  In short, we realize that Princess Cut had a very small budget, but it seems like more could have been done here.

Plot and Storyline Quality (.5 point)

There is an underlying philosophy in this plot that is slightly commendable, but there are so many negative issues.  Good principles of dating are talked about, but they are also forced down the throats of the audience through robotic paragraph dialogue.  Also shoved in the viewers’ faces is a far right Christian-ese worldview based on patriarchy, matronly women’s roles, anti-psychology ideals, and self-help books.  The female characters are portrayed as empty-headed and clueless.  ‘Bad’ characters are over-the-top strawmen.  As previously mentioned, there is no real dialogue that builds the characters—most of the time, the characters seem to be reading self-help books verbatim.  The plot is choppy and leaves out many key parts, some of which are made up for with extremely awkward and strange dialogue.  Intended humor falls flat.  In summary, this plot contains only a small amount of positive amid a conglomerate of strange philosophies and robotic characters.

Acting Quality (.5 point)

We felt like there was some potential in this cast—Rusty Martin Sr. and his son has both demonstrated good acting skills before—but it was not tapped in Princess Cut.  Ashley Bratcher seems like a good actress, but she is not given any help.  Unfortunately, most of the line delivery is emotionless and very stodgy.  If coaching had been employed, the acting quality could have improved.

Conclusion

It’s great that more independent Christian film-makers are making movies and are able to make them, but what is the cost of these sorts of films?  Princess Cut portrays Christians as living in their own bubble, owning a farm that the men run while the women slave away in the kitchen all day and knit.  People outside of this bubble are portrayed as bad, and psychology is a definite no-no.  Yet at the same time, the Bible is not given near as much attention in this film as self-help book product placements.  What type of philosophy is exactly being espoused here?  It is wonderful to portray healthy dating, but if you’re looking for that, we highly recommend Old-Fashioned, not Princess Cut.

 

Final Rating: 2 out of 10 points

 

February 17, 2016January 18, 2019 by Box Office Revolutionary Categories: Inspirational, Movie Reviews, RomanceTags: 2 points, 2015, Ashley Bratcher, Christiano Film Group, Cory Assink, David C. Cook, Evan Brinkman, Inspirational, Jenn Gotzon, Joseph Gray, Josh Cohen, Kate MacCallum, Mimi Sagadin, Nathan Jacobson, Not Cornbread, Paul Munger, Peggy Barnell, Rebekah Cook, Richard Swingle, Rick Holets, Romance, Rusty Martin Jr., Rusty Martin Sr., Sheilah Munger, Starter Marriage, Taylor Michael Mead, Ted Johnson, Torry Martin, Watchman Pictures 5 Comments

Alone Yet Not Alone (Movie Review)

Plot Summary

Recent immigrants from Germany to colonial America in order to find religious freedom, Barbara Leninger, her parents, and her siblings did not expect to come face to face with the violence between the Native Americans and the settlers.  In a shocking raid, Barbara and her sister Regina are separated from their mother after witnessing the deaths of their brother and father.  Barbara and Regina are forced to become Native American girls in every way, including attire and behavior.  They band together with other captive children, keeping each other morally afloat by singing the Leninger family hymn, Alone Yet Not Alone.  But when Barbara and Regina are separated, their true faith in God is tested to the limits as they risk their lives by attempting to escape in order to find each other again.

Production Quality (2 points)

For a first time filmmaker, Alone Yet Not Alone has above average production quality.  The camera work is good, as multiple complex action scenes are filmed relatively well.  The editing is okay, considering the large amount of content and the passage of time in this movie.  One drawback is that some of the makeup work and costuming show indie qualities, but this does not cause irreparable harm.  In short, this is a good start for production.

Plot and Storyline Quality (1.5 points)

This movie is based off of true events, so realism in the plot cannot be argued with.  There are realistic twists, turns, and disappointments throughout.  As previously mentioned, a lot of time is covered, and this is pulled off fairly well.  However, the characters are not developed as well as they should be as the dialogue is just average. Additionally, some cast members do not appear to be culturally authentic. Regardless, inaugural film projects should tend to be based on real events, and this criteria is met.

Acting Quality (1.5 points)

For a cast of allegedly inexperienced actors, there are not too many glaring errors.  Some movie-makers commit grave errors with casts of allegedly professional actors.  Sometimes it is difficult to cast multiple actors for the same character in a plot that requires age differences, but Alone Yet Not Alone does not make this a problem.  Some negative elements should be examined however, such as the poor acting of some of the supporting actors and the fact that not all of the Native American characters were played by true Native Americans.  Box Office Revolution realizes that it is difficult to acquire so many Native Americans for a movie, so this may be a moot point.  In summary, more is made out of this little-know cast than is made out of casts that are supposedly star-studded.

Conclusion

Alone Yet Not Alone is a good start for the team behind it; it is definitely something to build off of.  It contains a believable plot that can relate to most audiences, highlighting a little known historical period well.  In short, if more Christian movies were of this caliber instead of so many unwatchable movies in the Christian genre, the movement as a whole would have a greater reputation than it currently does.

Final Rating: 5 out of 10 points

January 28, 2016August 25, 2019 by Box Office Revolutionary Categories: Drama, Historical, Inspirational, Movie Reviews, Musical, SuspenseTags: 2013, 6 points, Brett Harris, Cassie Brennan, Clay Walker, Enthuse Entertainment, George D. Escobar, Hayley Lovitt, Historical, Ian Nelson, Inspirational, James Richards, Jenn Gotzon, Joanie Stewart, Joel King, Joseph Gray, Josh Murray, Justin Tully, Kelly Devens, Kelly Greyson, Ozzie Torres, Paul Ganus, Ray Bengston, Richard Swingle, Robert Pierce, Ron Pinson Jr., Rusty Whitener, Suspense, Thurman Bryan, Tony Wade, Tracy Leininger Craven, Victoria Emmons 3 Comments