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?
It seems like Zach and Dave Truett have always been dealt a bad hand in life. Their mother died, and their father soon after fell into alcoholism. Dave suffers from a medical condition, so when Zach tears his ACL at a party, his chances of a football scholarship, their only clear way out of their small town, are jeopardized. This forces Zach to do the soul-searching he had always avoided since their mother died, and it leads the brothers to unexpected places.
Production Quality (2 points)
As the first production funded and facilitated by the Tebow brothers, they have definitely shown that they can aggregate funds and put them to fairly good use. For the most part, this production is quite good and hits all the right notes, including good video quality, effective camera work, professional audio quality, and a great soundtrack. Sets, locations, and props are also adequately used and constructed. While the music is good, one drawback is the many dizzying sports montages that seem to eat up most of the runtime. Because of the time spent on this part, other scenes in the film are awkwardly and abruptly cut off with poor transitions. However, on the whole, this is an above-average production that is great for a first time effort.
Plot and Storyline Quality (.5 point)
Unfortunately, the money put into the production didn’t reflect well in the plot department. While something good is trying to be portrayed in this story, it doesn’t come through well at all, mostly due to the quick, clipped scenes that leave little room for proper development. Much of the dialogue refers to off-screen content or is very punctuated; this makes for awkward conversations that are inadequate in building characters effectively. While there are some attempts to take a real look at issues facing small towns in America and the people in them, too much time is spent on sports and training montages, which makes for a fairly choppy story presentation that doesn’t flow very well at all. There are too many missed opportunities as mindless sequences crowd the runtime, and many of the characters are too basic and one-dimensional. Difficult topics are mishandled with cliches, and unexpected time jumps leave the viewer disoriented to the story’s progression. Besides a handful of good scenes near the end of the film, this movie mainly talks about things without really showing them to you and fixes things without any heart behind them. In better screenwriting hands, this could have been a great exploration of relevant issues facing ordinary people, but we are left wondering what could have been.
Acting Quality (1.5 points)
On the whole, the acting of this film could have been good, and while there aren’t any glaring errors, it’s still a bit thin. Better coaching would have likely brought out the potential in the cast members, and even so, it’s not as bad as it could have been. However, it’s not really dynamic either, which makes this an average section that rounds off a middle-of-the-road film.
In summary, Run the Race is fine for a freshman film effort, but with higher standards being set in the Christian entertainment market, new film makers will need to aim higher if they want to make their mark. Good productions have become more of a benchmark than they once were, and acting should at least be above average. The films that will truly set themselves apart moving forward are those that have dynamic plots and effective storytelling techniques. Perhaps in the their next attempt, the Tebow brothers can wield their fundraising skills to support a truly talented screenwriter.
Two years after the Rapture, the enigmatic Josh McManus has a mission to do good and to right wrongs, even when it seems like evil is winning. His latest mission takes him to a strict and legalistic settlement that tolerates no crime in order to gain medical attention for an injured girl. In exchange for both of their lives, Josh must carry out a dangerous mission: search for a mysterious and troublemaking vagrant known as the Shepherd and bring him back so the settlement leader, Drake, can exchange him to his superiors for more life saving supplies. In route to searching for the Shepherd, Josh and his unwanted tagalong, Sofia, must battle multiple villains and come to grips with what they truly believe about Jesus and His plan for the world.
Production Quality (2 points)
Despite previous production struggles, Bradley Dorsey and Gabriel Sabloff have greatly improved this franchise. The camera work improves dramatically in The Black Rider, as does the sound quality. The surroundings and sets are innovative and creative. Gone are ridiculous special effects, including that weird lightning! This would have been a stellar production were in not for a collection of small issues—no doubt White influences. For example, the CGI that is used is very amateurish. Action scenes are overall not produced well, and there are too many of them, which is an editing problem. The scope of the plot is so vast that precious time does not need to be wasted on silly fight scenes. Yet these such portions squeezed out the deepening of plot creativity. Nonetheless, this is the type of production that Pureflix has been trying to stab in the dark for years.
Plot and Storyline Quality (2 points)
The abysmal non-plot of The Beginning of the End seems like a distant memory after viewing The Black Rider. There is a unique psychological edge to this plot and creative concepts that give the film deeper meaning beyond car chases and gunfights. An entire new cast of characters is introduced, and it actually works. A new world is introduced two years after The Sea of Glass and Fire, and it’s better than before. But this new world is a double-edged sword—it’s too big for the scope of this film. If more of this world had been explained in The Sea of Glass and Fire, we would have a framework to understand, but this did not happen. Foreign plot devices such as the ominous ULC are forced upon viewers without explanation. However, the city-state government system works well in this apocalyptic setting and gives the movie that epic backdrop David A. R. White has been searching for. Moreover, there are other speculative concepts that are introduced and not fully explained. Yet the gospel message is philosophically communicated far better than ever before in a Pureflix movie, and all without forcing the message down the audience’s throats. There is unfortunately still wasted time on childish fighting scenes. The escapades of Josh McManus, a surprisingly good character, border on unrealistic and sometimes coincidental. Some of the many villains in this movie are laughable, while others are believable. Each character is crafted through mostly effective dialogue. The ending of this plot is also a double-edged sword: it both introduces a key psychological element and confuses the audience. It both isolates the viewer and makes them want more. Any further discussion is beyond the scope of this review, but the bottom line is Dorsey and Sabloff really have something going here, something that needs to be continued.
Acting Quality (2 points)
Hands down, The Black Rider is David A. R. White’s best acting work to date. Bradley Dorsey also contributes an excellent role to the film, perhaps his best. Unfortunately, there is still some cheesy acting from certain cast members. Kevin Sorbo in a thrift store disaster getup and sporting a fake insert-ethnicity-here accent is just too much to bear. Action acting is still B-grade. Other small issues plague an otherwise great casting job, such as that dumb sheet the Shepherd wears. Otherwise, costuming is fairly responsible. Line delivery is sometimes effective and sometimes forced. Emotions are mostly believable. In short, everything about this film is give and take: for every cheesy element, there is an excellent element, and vice versa.
The Revelation Road saga is a cinematic freak of nature—a film franchise with a redemption arc of its own that closely mirrors the rise of Josh McManus, the surprising crowning achievement of David A. R. White’s acting career. Nonetheless, The Black Rider is a constant tug of war between the C-grade action of The Beginning of the End and the psychological creativity of The Sea of Glass and Fire. The third installment suffers from the wasted time of the first two installments, where this time could have been used to build a better backstory instead of shoving in all into one movie, intending to fix a broken series in one stroke. But The Black Rider is proof that broken sagas can be fixed. Therefore, we are surprisingly anticipating the release of Revelation Road 4.