The Bible Collection: Solomon (Movie Review)

Plot Summary

Solomon was the heir to David’s throne and the chosen king to build Yahweh’s temple. He sought wisdom from God and was blessed for it. However, later in life, Solomon allowed idols to dominate his life, which were his ultimate downfall.

Production Quality (2 points)

In keeping with most Lux Vide productions, Solomon is typically fine, including good video quality and camera work. Audio is also acceptable, along with the soundtrack. Sets, locations, and props demonstrate good attention to historical detail. However, some action scenes are poorly shot, and weird special effects invade the viewing experience at times. Also, editing tends to be poor in certain circumstances as scenes suddenly cut off or fade out for no particular reason. However, this section does enough in the end to get past the average mark.

Plot and Storyline Quality (1 point)

For the most part, Solomon does a fairly good job with adhering to the historical source material. On paper, the story is adequately portrayed, but the characters aren’t deep enough. The dialogue is very procedural rather than emotional, like it’s a strain to be realistic. This prevents the character from being relatable and makes them more like theater actors and actresses. Large time jumps certainly don’t help matters, and things generally move too fast. At times, random things suddenly happen, including some unnecessarily edgy content. It all converges into an anti-climactic conclusion that leaves the audience empty-handed. Overall, while this narrative seems to check the right boxes, it just ends up being another typical Bible play.

Acting Quality (1.5 points)

One of this section’s biggest detractors is its inconsistent use of culturally authentic cast members. Additionally, the performances are often too theatrical and dramatic, keeping with the Bible play themes. However, despite the stoicism, the actors and actresses aren’t all that bad. There are plenty of positive moments that contribute to this average score even though there are instances where the cast members seem to act in ways that are contrary to their roles. Nonetheless, this area rounds out an overall underwhelming effort.

Conclusion

Films like Solomon continually contribute to the bad image of Scripture-based entertainment. They manage to frustrate audiences by being Shakespearean, poorly presented, and inconsistent with application of Biblical concepts. Hopefully, one day soon, we can put these types of movies and series behind us and replace them with more substantial offerings.

Final Rating: 4.5 out of 10 points

August 11, 2020 by Box Office Revolutionary Categories: Biblical, Drama, Historical, Movie ReviewsTags: 4.5 points, Affirm Films, Ahmed Boulane, Anouk Aimée, Antena 3, ARD Degeto Film, Ben Cross, Beta Film, Bible, Biblical, Bradley T. Winter, British Sky Broadcasting, Ceská Televize, Con Dios Entertainment, David Suchet, Dexter Fletcher, Drama, Eleonora Andreatta, Ennio Morricone, G.W. Bailey, Heinrich Krauss, Historical, Ivan Kaye, Lorenzo Minoli, Lube Productions, Luca Bernabei, Lux Vide, Maria Grazia Cucinotta, Marta Zoffoli, Matilde Bernabei, Max von Sydow, Michael Culkin, Mohamed Majd, MTM Enterprises, Oliver Robsom, Paolo Lucidi, Paolo Piria, Patrick Williams, PAX Television, Pete Lee-Wilson, Quinta Communications, Rai 1, Richard Dillane, Roger Hammond, Roger Young, Stefan Gubser, Stefania Rocca, Susu Langlands, Thom Hoffman, Trimark Home Video, Umberto Orsini, Vadim Glowna, Vivica A. Fox 2 Comments

The Bible Collection: Genesis (Movie Review)

Plot Summary

In the beginning, God created humans in His image, but they sinned against Him. After most of the world went against His purposes, He sent the Flood to judge them. Then, after the Deluge, humanity sought to rebuild, and they passed on the stories of the times before them by sharing the narratives with each other.

Production Quality (2.5 points)

Surprisingly, Genesis boasts a respectable production. This is likely due to good funding even though it does contain a lot of stock footage. Video quality, camera work, and audio quality are all great, however. The soundtrack is very interesting, and the sets, locations, and props are well-used. The only minor concern is the editing, but it’s not enough to keep this section’s score from being quite high. Unfortunately, these good elements seem to go to waste.

Plot and Storyline Quality (.5 point)

It’s hard to understand why Genesis isn’t some type of docu-drama or narrated Bible project as it’s almost entirely based on narration and voiceover. This experience is extremely artistic and even ethereal at times, which necessitates reading a lot into what’s being seen. There are basically no instances of dialogue or conversations, and many of the scenes are quite vague, barely representing what the narrator is talking about. Long sequences sometimes pass without any talking at all, so while it’s fine to be subtle, it’s also possible to be so discrete that there’s no point in viewing it. Such is the case in this “narrative.” Elsewhere, there are some odd inclusions of biblical accounts that hadn’t been yet written. Although it was an interesting idea to frame the first part of the Genesis story in the context of Noah, which is one of the main things keeping this section from being zero, this movie definitely does not cover the whole book. Further, this plot ends in a strangely abrupt way like they just ran out of ideas and cut it off. In the end, this is a unique yet mostly extraneous viewing experience.

Acting Quality (1 point)

Genesis strengthens its case by casting actors and actresses that are mostly culturally authentic. However, they hardly have any chance to exhibit their potential skills due to lack of opportunities to deliver actual lines. The small amount therein is passable albeit somewhat dramatic and theatrical. Overall, this section rounds out a rather mediocre effort.

Conclusion

It’s quite unclear what this “screenplay” was actually going for. If it was part of a larger plan, this is totally lost to the audience. Despite having some interesting possibilities at their fingertips, this film’s creators squandered an opportunity to do something creatively different. Unfortunately, Genesis just falls in line with lots of other un-engaging and ultimately forgettable Bible entertainment.

Final Rating: 4 out of 10 points

August 3, 2020August 5, 2020 by Box Office Revolutionary Categories: Biblical, Drama, Historical, Movie Reviews, PsychologicalTags: 4 points, Affirm Films, Annabi Abdelialil, B. Haddan Mohammed, Beta Film, Bible, Biblical, Con Dios Entertainment, Drama, Ennio Morricone, Ermanno Olmi, Franco Bollati, Giampietro Bonamigo, Haddou Zoubida, Historical, Lube Productions, Luca Bernabei, Lux Vide, Matilde Bernabei, Omero Antonutti, Paolo Piria, Paul Scofield, Psychological, Rai 1, Sabir Aziz, Sony Pictures Television Leave a comment

Mary of Nazareth [2012] (Movie Review)

Plot Summary

Mary was chosen by God to be the mother of Jesus Christ, and this calling led to many unprecedented ups and downs in her life. Her experiences with Christ didn’t stop at the Nativity as she supported Him in His earthly ministry. Even in the end, she played a key role in His work and made a difference wherever she went.

Production Quality (1 point)

Despite average video quality and acceptable camera work, this production doesn’t really meet the mark. Audio is fine, but there are some obvious overdubs. Sets, locations, and props show some attention to historical details. However, the editing is extremely choppy as some scenes cut off very abruptly. Some scenes suddenly invade without warning, and special effects are very cheap. Therefore, this section doesn’t meet the middle mark.

Plot and Storyline Quality (0 points)

As a whole, Mary of Nazareth feels more like a play than a movie since its characters are very stiff and wooden. This is due to very unnatural dialogue and uptight conversations, and Mary and Joseph seem like they’re from another planet because of their ethereal attitudes and reactions. Besides this, the narrative rushes through every major event in Mary’s life, introducing more and more characters and unfinished subplots as it goes on. To string things together, heavy-handed narration is awkwardly inserted; it goes without saying that Jesus is portrayed as as very otherworldly and inaccessible person. Some biblical accounts are either altered or shorted in order to save time in the bulging plot, and it seems like some cultural traditions aren’t correctly captured in the story. For instance, some characters seem to live too well-off for the time period, but this is almost beside the point due to the many other screenwriting errors committed here. In the end, this is just a mess that can’t be awarded any points.

Acting Quality (0 points)

Despite acceptable cultural costuming, the acting is bit overdone in the emotional department. The cast members come off as theatrical and overly dramatic as well as too breathy at times. Actors and actresses are not always culturally accurate. Most of the scenes seem extremely scripted and controlled, which leads to very practiced and robotic line delivery. In the end, due to antiquated acting styles and other concerns, this section can’t receive any points.

Conclusion

Mary of Nazareth is another reminder of the older era of Bible-based entertainment that treated Scripture like a rigid stage play. In trying to be too careful to avoid messing anything up, the story is portrayed in a distant and untouchable manner. The treatment of Jesus is among the worst aspects of the film since He comes off as a lofty individual. Thus, all that can be gleaned from this experience is how not to do it.

Final Rating: 1 out of 10 points

July 26, 2020 by Box Office Revolutionary Categories: Biblical, Drama, Historical, Inspirational, Movie ReviewsTags: 1 point, 2012, Afef Chelbi, Alecsander Faroga, Alice Bellagamba, Alissa Jung, Andrea Giordana, Andreas Pietschmann, Antonella Attili, Antonia Liskova, Bahram Aloui, Bayerischer Rundfunk, Beta Film, Bible, Biblical, Daniele Passani, Drama, Francesco Arlanch, Franziska An der Gassen, Giacomo Campiotti, Guy Farley, Hichem Rostom, Historical, Ikram Azouz, Inspirational, Johannes Brandrup, Luca Bernabei, Luca Marinelli, Lux Vide, Marco Foschi, Marco Gambino, Marco Messeri, Marco Rulli, Mariano Rigillo, Martin Choroba, Matilde Bernabei, Mohamed Kouka, Nejib Belhassen, Nicolò Forte, Nikolai Kinski, Nissaf Ben Hafsia, Paz Vega, Raffaele Vannoli, Rai Fiction, Remo Girone, Robert Stadlober, Roberto Citran, Saber Araki, Sara Melodia, Sergio Múñiz, Telecinco, Tellux Film, Teresa Acerbis, Thomas Trabacchi, Toni Laudadio, Vincenzo Mosca 2 Comments

Joseph, Close to Jesus {Joseph of Nazareth} (Movie Review)

Plot Summary

Joseph never chose to be the earthly stepfather of the Messiah, but by the prompting of the Holy Spirit, he accepted his role to take care of Mary and the Christ Child for as long as God wanted him to. Joseph was there before, during, and after the birth of Jesus, so he had a unique perspective on Yahweh’s plan to save humanity from sin.

Production Quality (1.5 points)

Like many other Lux Vide\Trinity Broadcasting Network biblical presentations, the production of Joseph, Close to Jesus is typically fine. It has authentic sets, locations, and props, along with good video quality and audio quality. As a whole, it seems realistic even though the action scenes sometimes employ wild camera work and though some shots are unnecessarily close. The soundtrack is a bit generic and dramatic at times, but most aspects of this production are acceptable. The editing sometimes leaves something to be desired due to some lagging scenes and quick cuts, but on the whole, this is at least an average effort.

Plot and Storyline Quality (0 points)

From start to finish, Joseph of Nazareth adopts a very quick and forceful plot progression as the story is forced forward at a breakneck pace that doesn’t let things naturally develop or allow time for characters to be deepened. Besides this poorly constructed premise, Joseph comes off as a basically perfect and all-knowing character even though he appears a bit crazed at times. In focusing on his inaccessible qualities, some key biblical scenes are brushed over or portrayed in extremely vague ways, which confuses the audience. Other scenes are very muted and blank, and dialogue in general leaves much to be desired. Elsewhere, there are a handful of fantastical and ethereal elements that cause spiritual themes to be painted either in a magical light or as untouchable. In summary, the combination of the speedy storyline and the general oddness of some of the characters and plot points prevents this section from having any points.

Acting Quality (1 point)

While some cast members appear to be culturally authentic, many of them, especially the lead ones, are not and obviously belong to cultures other than those who lived in first century Judea. Moreover, while the costuming of all characters is fine, the acting is extremely theatrical and dramatic. It feels like many of them are putting on a play rather than trying to become the characters, which further gives this film an air of elitism and other-worldliness. Further, emotions are inadequately depicted, and some lines are very forced, which rounds out a disappointing effort.

Conclusion

Joseph, Close to Jesus had a lot going for it since it promised to provide a unique perspective on the Nativity and on Jesus’ early years. However, it committed many unforced errors and was more devoted to making the Bible seem like a Shakespearean experience rather than a Spirit-inspired historical account that still has profound application for us today. Unfortunately, this was the case for most Scriptural entertainment prior to The Passion of the Christ. Thankfully, in recent years, God has provided the market with better options for accessible biblical depictions of the First Christmas on both the big screen (The Nativity Story) and the small screen (The Chosen). These offerings are much more interesting for your family to enjoy this holiday season.

Final Rating: 2.5 out of 10 points

December 21, 2019December 21, 2019 by Box Office Revolutionary Categories: Biblical, Christmas, Drama, Historical, Inspirational, Movie Reviews, RomanceTags: 2.5 points, 2000, Ahmed Saguia, Andrea Prodan, Azalarrabe Karrat, Bible, Biblical, Christmas, Con Dios Entertainment, Drama, Elisabetta Marchetti, Ennio Fantastichini, Epsilon TV Production, Francesco Maria Dominedò, Franco Interlenghi, Gabriele Tozzi, Gareth Jones, Gianmario Pagano, Giovanni Micoli, Historical, Housseine Deuiti, Ida Di Benedetto, Imma Piro, Inspirational, Jurij Gentilini, Leila El Hayani, Lionsgate, Luca Bernabei, Lux Vide, Marco Frisina, Massimo Reale, Matilde Bernabei, Mattia Sbragia, Mohamed Karrat, Mohamed Khachla, Naima Lovadni, Omar Chenbod, Omar Lahlou, Paolo de Crescenzo, Raffaele Mertes, Rafik Abubakar, Renato Scarpa, Romance, Sanae Moubtassin, Stefania Rivi, Tobias Moretti, Trinity Broadcasting Network Leave a comment

Thomas, Close to Jesus {The Friends of Jesus – Thomas} (Movie Review)

Plot Summary

Thomas followed Jesus for the three years of the Lord’s earthly ministry, yet Thomas always struggled with belief. His doubt was only compounded when he witnessed the brutal arrest of his Savior and heard how he was violently flogged and executed at the hands of the Romans. At the darkest hour of history, Thomas’ small faith would be tested like never before.

Production Quality (2 points)

As an early 2000’s production, Thomas, Close to Jesus is mostly respectable, including historically authentic sets, locations, and props. Video quality is passable, and audio quality is fine except that the soundtrack is somewhat generic. The camera work tends to be shaky at first but gets better as it goes. To round things off, the editing is fairly pedestrian yet isn’t bad. In the end, this is basically an above-average production that doesn’t make many positive or negative impact.

Plot and Storyline Quality (.5 point)

Lux Vide and TBN had interesting ideas in this early era of Christian entertainment to make a series of films focusing on different disciples, so a film centered around the less-emphasized character of Thomas is refreshing. However, like other Biblical films from this creative team (Mary Magdalene and Judas), the characters cannot be easily accessed due to stiff and pedestrian dialogue that feels like a Bible play. There are too many boring asides and vanilla conversations that waste time and focus on vague concepts without developing accessible characters. While there were good attempts to connect the films of the series together, there were some unnecessary alterations to the historical account. Further, the portrayal of Jesus is once again too ethereal and otherworldly, and too many scenes either contain forced drama or lag on. In the end, there was probably not enough actual content to sustain full-length movie without slid dialogue and flashbacks.

Acting Quality (1.5 points)

Unfortunately, the cast of Thomas isn’t entirely culturally authentic, but some attempts are made. Moreover, there are a lot of dramatic and theatrical performances as if this is a stage play. This brings overdone and unnatural emotions with it. Even still, the costuming is mostly historically accurate, and there are some good moments in acting, which is enough to keep this section average.

Conclusion

On a number of levels, creating Biblical fiction entertainment is extremely difficult to pull off, which is why it should never be done lightly. Since TBN’s early attempts at depicting the lives of Jesus and His disciples, Christian movies and series have definitely improved in how they portray these historical characters. They were real people, so when they are properly cast in this light, audiences everywhere can relate to them, which makes the message more powerful and meaningful.

Final Rating: 4 out of 10 points

October 10, 2019 by Box Office Revolutionary Categories: Biblical, Drama, Historical, Inspirational, Movie ReviewsTags: 2001, 4 points, Bible, Biblical, Danny Quinn, Drama, Elisabetta Marchetti, Enrica Maria Modugno, Epsilon TV Production, Ferdinand Dohna, Gareth Jones, Hannes Jaenicke, Historical, Inspirational, Loretta Bernabei, Luca Bernabei, Lux Vide, Manfred Zapatka, Marco Frisina, Maria Grazia Cucinotta, Mathias Herrmann, Mathieu Carrière, Matilde Bernabei, Matt Patresi, Mehmet Günsür, Raffaele Mertes, Ricky Tognazzi, Trinity Broadcasting Network Leave a comment

Mary Magdalene: Close to Jesus (Movie Review)

Plot Summary

Mary Magdalene lived a dark life before she encountered Jesus of Nazareth, and her bondage and past mistakes always tried to call her back. However, her experience with Jesus forever changed her life. She sought to serve Him and follow Him whenever she could, and her influence that came as a result of her time with Jesus had a positive effect on those around her.

Production Quality (2 points)

The early 2000s Bible films produced by the collaboration between the Trinity Broadcasting Network and Lux Vide were certainly well-funded, which translated to great attention to historical detail. Other production elements were also professional, including video quality and camera work. The sets, locations, and props reflected attempts at authenticity, and the editing was streamlined. However, there were a few issues with audio in Mary Magdalene. For one, there are a lot of very obvious overdubs that seem unnecessary. On paper, the audio seems fine, but the soundtrack is sometimes archaic and incongruous, and any presence of overdubbing speaks to sound problems. Nevertheless, this film has an above-average production that is good enough but not dynamic.

Plot and Storyline Quality (.5 point)

The story of Mary Magdalene is definitely an interesting Biblical account this isn’t focused on enough; however, this rendition gives an odd take on the story since there isn’t enough exploration as to how she became originally possessed. This is a central point in the story, so focusing on tangential content instead of this core concept is unusual at best. Lacking a coherent bondage storyline makes it hard for the viewer to appreciate Mary’s redemption arc. Elsewhere in the story, time seems to move too quickly, and there are some unnecessary alterations to the historical account. All of this hampers proper character development due to stunted dialogue and little continuity. While the portrayal of Herod is fine, John the Baptist is too nutty, and Jesus is too inaccessible and ethereal. There is also some unnecessary suggestive content that could have been shown more tastefully. In the end, while the movie’s plot had a lot of potential, it falls flat for a number of reasons and shows that unskilled screen writing can hurt any good idea.

Acting Quality (1 point)

Unfortunately, the cast of Mary Magdalene is not completely culturally authentic, which is manifest in unrealistic accents. However, the historical costuming is one of the stronger points of the film. Nonetheless, emotions among the cast members are often too forceful, dramatic, and theatrical. Line delivery is too robotic at times, but there are some positive elements that keep the acting from level zero. In the end, this section is still below average, and this movie is another not-good-enough Bible film.

Conclusion

The TBN\Lux Vide combo definitely tried to blaze some trails in the early 2000s with regard to Bible films, but they too often missed the mark. It wasn’t for lack of budget; rather, inadequate screenwriting held their Biblical accounts back from being all they could have been. Having the characters cross back and forth between the different films was a great universe-connecting idea, but it was in vain since they didn’t have wide appeal. For future learning, current film makers can take notes from these films on how to go about crafting Biblical epics without repeating the old mistakes.

Final Rating: 3.5 out of 10 points

March 13, 2019March 13, 2019 by Box Office Revolutionary Categories: Biblical, Drama, Historical, Inspirational, International, Movie ReviewsTags: 2000, 3.5 points, Ambra Angiolini, Barnholtz Entertainment, Benjamin Sadler, Bible, Biblical, Con Dios Entertainment, Danny Quinn, Drama, Elisabetta Marchetti, Epsilon TV Production, Gareth Jones, Gianmario Pagano, Giuliana de Sio, Gottfried John, Historical, Imanol Arias, Inspirational, International, Loretta Bernabei, Luca Bernabei, Lux Vide, Marco Frisina, Maria Grazia Cucinotta, Maria Jittou, Massimo Ghini, Matilde Bernabei, Nathalie Caldonazzo, Raffaele Mertes, Roberta Armani, Thure Riefenstein, Trinity Broadcasting Network, Vittorio Amandola 2 Comments