In Theaters September 2021; On Demand December 21, 2020
Writer(s): Timothy Chey
Director(s): Timothy Chey
Producer(s): Timothy Chey
Plot Synopsis: In the film, the Antichrist is peppered with stark questions including instant death squads, media domination, John MacArthur, the ACLU, Netflix, the Democrats, Mike Pence, mass shootings, 911, Saudi Arabia, and even Rudolph the Red-Nosed Reindeer. The movie is also a no-holds bar look at the lukewarm church.
John Thornton felt called to be a missionary on the remote island of Hawaii in the early 1800s, so he took his wife, Mary, and went with their friend Hiram to the unknown place. Once there, the missionaries met Chiefess Kapiolani and those her were in her tribe. Although the chiefess was familiar with the English language and American customs, many of her people were suspicious of the Caucasian visitors and preferred to practice human sacrifice to their pagan gods. However, one fateful day, as the island’s volcano raged, they all came face to face with what it truly meant to believe in a god.
Production Quality (2 points)
Overall, it’s clear that this production was well-funded with money that was mostly responsibly spent. All the standard elements are up to par, including video quality, audio quality, sets, props, and locations. However, there are a few pesky issues that hold this section back from being perfect, such as some cheesy sound effects that were obviously added on top of the normal audio and a generic soundtrack that never stops playing. Further, the editing leaves something to be desired as there are some abrupt cuts and transitions that cause some scenes to end without natural conclusions. Nonetheless, this production does enough to stay above average.
Plot and Storyline Quality (.5 point)
From the get-go, The Islands‘ plot is nearly crippled by immediate narration that continues throughout the narrative and is sometimes substituted with information dump dialogue, which seems to serve as some type of history lesson. To make matters worse, there are far too many characters for the viewer to keep up with much less for them to have time to be properly developed. Time jumps also complicate matters and make the story seem like just a collection of random scenes strung together as the film goes from one high point to the next and even seems to repeat itself on several occasions. Several interactions between characters feel like they’re on repeat and are simply designed to waste time until the climax. A lot of the conversations and situations seem very contrived just for the sake of the plot-line, and there are no clear or consistent themes that underlay the idea and give it true purpose. Nonetheless, all of these problems aside, Timothy Chey and his team did stumble upon a very intriguing true account that still shines through despite the poor storytelling. This fact is most evident in the famed final sequence that actually demonstrates some potential, which is why this section isn’t zero points. However, it’s too little too late and makes for a disappointing experience.
Acting Quality (1.5 points)
One of The Islands‘ strongest points is its encouraging commitment to assembling a diverse and culturally accurate cast, even if the costuming is a bit cheesy at times. However, this main strength is slightly weakened by the fact that much of the acting is fairly robotic at times, and emotions are sometimes difficult to believe. While it’s good to see the proper foreign language being applied in this setting, there is a lot of fight-acting throughout the film that is poorly executed and coached. Moreover, in the end, there is enough positive in this section to keep in at the average mark.
The historical narrative behind The Islands appears to be a very interesting and potentially powerful story that could and should have received better treatment. It’s one thing to have a good idea, but it’s another to successfully execute it, and it’s definitely a difficult feat to accomplish. Nonetheless, the experience Chey and his team bring to the table is enough to ask more of them, and the amount of potential for engaging concepts and overarching themes that was left on the table in this film was simply unacceptable. However, Chey is still on an upward trend in his career when compared to his earlier days, so perhaps his true success is just around the corner.
Plot Synopsis: During Noah’s time, the Bible speaks of a time of great violence and Godless behavior on the earth. The Lord destroyed the entire earth through the flood, but spared Noah and his family due to Noah’s righteousness. This film will focus on the total devastation from the worldwide flood.
When Samuel Woodward and his family escape a cruel Virginia plantation one night, they are aided by Christians on the Underground Railroad. However, they are also pursued by cruel slave bounty hunters. When Samuel wants to give up on his faith because of what they are going through, his mother tells him the story of his great grandfather, who was a boy on board one of John Newton’s slave ships. The two lives parallel as they each face their own struggle for freedom and discover faith in God.
Production Quality (2.5 points)
With a hefty budget and cable television backing, Freedom had many positives going for it from the get go. For the most part, the money is well-spent, including great video quality, camera work, and audio quality. Obviously, the standout feature of this film is supposed to be its historical live soundtrack sung by the characters like a musical, but this is an area that needs some further refinement. There are also some lingering small issues in this production pertaining to some fake backgrounds and some slightly rushed editing, yet on the whole, this is a very respectable production that was helped by the money behind it. The one caveat to point out is that with this kind of money, Freedom *should* have been flawless and likely would have been in the right hands.
Plot and Storyline Quality (1 point)
Freedom is an attempt at a historical musical epic, and it succeeds on some fronts, even though it fails on other fronts. For one, there is a lot of unnecessary narration throughout that hurts natural character growth. Characters are also not helped out by the fact that there are so many of them. Also, the parallel subplots from two different historical time periods is an interesting touch, yet it is not handled very well as time tends to jump all around. The sheet amount of content that is being handled here may just be too much for one film, and the dialogue is not substantial enough for the epic style this movie is trying to adopt. However, this is a mostly realistic and touching story that has a lot of historical backing and interest. It is extremely important for more Christian movies to be made about history, especially the Underground Railroad. However, Timothy Chey makes a mistake in portraying most, if not all, the pro-slavery characters as atheists, which is not entirely accurate. Nonetheless, the second half of Freedom does show improvement, even if the better parts tend to be squeezed out by the wasted time at the beginning. In summary, Freedom is a good film, but it is frustrating to see the higher potential that it did not reach.
Acting Quality (2.5 points)
With professional cast members and fairly good coaching, Freedom had a successful acting run. Line delivery is on point, and emotions are effective, except for some minor moments of unnecessary drama. Also, the costuming is very authentic and historically accurate. There is some odd makeup work in some parts, but as a whole, this is a job well done.
As a side note, John Newton died almost 70 years before the hymn “It is Well” was ever written, so there’s no way his fiancée was able to sing it in church. Also, it’s also highly unlikely John Newton sang “Amazing Grace” at his own wedding since he wrote it almost 15 years after he got married. This isn’t the first time Timothy Chey has disregarded historical facts in his films, but his ambition to create a Christian historical epic\musical is noted, even if it is misguided in the beginning. Nonetheless, there are a lot of positive elements in this film, likely because Chey had assistance from other sources. However, there were definitely areas it could have been improved in, especially since this was a rare chance for a film with a Christian worldview to show that it was a great historical epic on a cable television channel apart from it being a Christian movie. There was so much going for this film, especially the budget, so it really should have achieved a higher rating. Even so, many audiences will still find enjoyment and meaning in it.
When a madman takes the White House hostage with a complex nuclear bomb he has built, he demands that the Secret Service assemble the world’s highest IQ achievers to solve the world’s problems in the President’s bunker before the time runs out on the bomb. The madman poses a series of philosophical dilemmas and questions for them to solve so they can gain enough points for him to turn off the bomb. Will they be able to play the game to win before time runs out?
Production Quality (1.5 points)
Unlike later productions from Timothy Chey, The Genius Club actually has average production quality rather than negative production quality. Video quality is good and camera work is good, but there is some randomly poor lighting. However, audio quality is unprofessional, although the soundtrack is interesting. Sets, locations, and props are also somewhat interesting and creative. However, the editing leaves something to be desired with some confusing cuts and transitions. Overall, this is a middle-of-the-road production that is better than negative but is not what it should be.
Plot and Storyline Quality (.5 point)
Though The Genius Club has some shades of Timothy Chey wackiness, it also includes some thought-provoking philosophical concepts. It has an interesting suspense storyline but it lacks flow and tends to jump all over the place in attempts to cover a lot of ground and information, even if it does so in an isolating way. There are some typical philosophical regurgitations, but there are also some interesting and surprisingly well-thought-out points raised. However, the characters, even though there are some interesting backstories, and the dialogue are not good enough to sustain a full-scale story as the conversations only seem to be used to fill time. Finally, as with many suspense ideas, this story has a paint-yourself-into-a-corner ending that is hard to reconcile properly or creatively without being predictable. But at least this was a reasonable attempt.
Acting Quality (1.5 points)
The acting is very inconsistent, especially with the over-the-top villain constantly manically tirading. Stephen Baldwin is always a lazy actor, but his role somewhat fits him. Other cast members post over-the-top performances, but others are realistic and meaningful. Overall, like other parts of the film, this is a mixed bag.
Timothy Chey remains to be an enigma. He is extremely hard to figure, except for the fact that he clearly hates lawsuits, noises, war, and oil companies, as these are constant themes throughout his films. Yet despite his zaniness, there are some interesting thought-provokers throughout The Genius Club that actually make you think. However, they are not enough to overcome the inevitable unprofessional elements that are almost always found in his films. But this one is at least worth a watch.
Michael Diggs was a college basketball star before he was dragged into a crime and framed for the murder. After spending six years in prison, he has come back home to find his brother wayward and his mother in poor health. His former girlfriend has also moved on. Thus, Michael sets out to make an honest living and try to put his family back together, but he meets a group of street basketball players who convince him to try out for a slam dunk competition. Michael decides to go for it, especially when a crisis hits home that forces him to rely on his faith to make it through.
Production Quality (2 points)
In a shocking break from Timothy Chey’s past production disasters, Slamma Jamma, though less funded that train wrecks like Final: The Rapture or David and Goliath, is on par with industry standards. Video quality, camera work, and audio quality are all professional. The soundtrack is effective, though it is sometimes too in-your-face. Sets, locations, and props are highly realistic. The only real issue holding this production back is the terrible editing. There are too many disconnected scenes and sequences that make for a very choppy viewing experience. Sometimes scenes abruptly and unnecessarily transition to another, even if it seems unfinished. Needless to say, some editing kinks still need to be worked out, but this is a huge improvement for Chey and makes us wonder how this even happened, given his history.
Plot and Storyline Quality (.5 point)
Slamma Jamma is a typical marketable true story sports plot where all of the characters fit into perfect molds and follow predictable trajectories. While this is a pedestrian idea for the market, it is an extreme departure for Chey, which suggests a need for funding. Gone are constant bizarre and manic references to Chey’s wacky worldview as they are replaced with stereotypical inspirational sports constructs. However, it is an interesting and engaging true story, even though its large amount of content is crammed into a confining runtime that likely does not do the original story justice. While the characters are somewhat accessible, they are not developed enough as time speeds by. The whole storyline is too neat and pre-planned, which is completely uncharacteristic of Chey. But hey, everybody’s gotta start somewhere.
Acting Quality (2 points)
Unlike past psychotic casts (see Suing the Devil), this cast is actually semi-professional and seems to know what they are doing. Some acting coaching is present, even though there are still a handful of very over-acted sequences. But on the whole, emotional and line delivery are very respectable. One thing is for sure: you never know what’s going to happen next with Chey.
When compared to past Chey works, Slamma Jamma is a major improvement, which shows just how bad it was for him at one point. Now he needs to move away from market predictability and flex those creative muscles he claims to have. It’s time to do something different, only the right way, and without blowing millions of dollars on north African field trips. If Chey can harness his creativity responsibility, mute his worldview, and surround himself with a good team as he did in Slamma Jamma, he might become the most surprising film maker yet.
Travel back to that historical moment when the British Jews in construction hats were hanging around in the desert waiting to fight the eye-shadow-challenged PhilistInes until they saw the guttural wonder known as Goliath and became too afraid to fight. So they reverted back to standing around talking, wandering around in circles, and riding their horses around camp. Then along came the pastiest white British man ever—Michelangelo’s David—who decided that he was going to fight the giant action figure across the valley. After much deliberation, arguing, and talking, the pasty white man ventures forth to fight the giant. If you made it this far into the film and haven’t been paid off by Timothy Chey, you know how bad it is.
Production Quality (-1 points)
With millions of dollars flushed down the toilet for this disaster, you would think that Timothy Chey and crew would be able figure out how to put together a professional production. But apparently they wasted too much of their funding on the ‘dangerous’ international location to care about how to keep audio quality from constantly screeching and overdriving. Despite the international endeavor, the sets are terrible and childish. The soundtrack is very generic and loud, like much of the other audio. Video quality is low for no reason and camera work is average at best. A lot of the outside scenes are poorly filmed, with constant extras and horses walking around in front of the camera. There are also a lot of poor special effects used, along with obvious animation to cover up production shortcuts. In the end, the world of Timothy Chey defies reality in many ways, especially when he is somehow raising tens of millions of dollars to fund these outright calamities.
Plot and Storyline Quality (0 points)
In a terrible attempt to portray the Biblical story of David and Goliath, this plot is really just about delaying the inevitable. As the whitest and most British man alive plays David, all the British characters waste time standing around (with horses and people constantly going round and round them) talking and arguing about what they are going to do and debriefing about what’s going to happen next. It feels like the same conversations repeat over and over again, and the sayings of Goliath most definitely and literally repeat over and over again, like he’s a giant action figure. Once it finally gets to the so-called climax, it really wasn’t worth waiting for. Besides this, there are tons of the typical Timothy Chey bizarre elements, such as likening the PhilistInes to a Satanic cult and having Goliath literally drink blood from a cow head. There is just so much here that cannot even be covered or explained, but needless to say, only watch this film if you don’t pay for it and if you need a good laugh.
Acting Quality (-1 points)
Besides this cast being extremely BRITISH, the costuming is among the worst. They blew millions of dollars on international travel but couldn’t even put together a decent historical costume that doesn’t look like it was a repurposed construction uniform. The makeup is also among the worst we have ever witnessed, with coal spilled all over the PhilistInes’ faces. The cast members therein (especially Goliath) make all kinds of weird guttural sounds and mumbled lines, not to mention the constant yelling and screaming. Basically, we could just go on and on about the twilight zone of Timothy Chey.
One only has to look to the International Movie Database user reviews of Chey’s films to see just how far his insanity extends. He clearly has a following of paid reviewers that constantly extol his works in an attempt to ‘correct the record’ (lol) about how the only reason anybody doesn’t like his movies is because they are carnal Christians who stole the movie off of the internet and live in their parents’ basements. Go ahead and check them out—you’ll see where a good portion of Chey’s budget goes. But this notwithstanding, what was someone thinking when they enabled this train wreck to happen? Needless to say, Chey hopefully will not be handed this much funding again any time soon, but stranger things have happened…
Luke, a struggling law student, is angry that the drunk driver who killed his mother is now walking free and contemplates killing him. But he decides against this and instead directs his anger at the devil. Concluding that Satan is responsible for everything evil in the world and that he needs to pay for it, Luke does the only rational thing he can think to do: file a lawsuit against Satan himself for damages totaling eight trillion dollars. What could go wrong, especially when the devil actually shows up in the courtroom?
Production Quality (0 points)
Though this production is not as deplorable as the horrid thing that is Final: The Rapture, Suing the Devil still has plenty of avoidable issues. Timothy Chey prides himself in having money to make quality films, yet he is content to flush all of his funds down the toilet in some kind of bizarre effort to get attention. Anything good about this production is drowned out by wild and amateurish cuts and transitions between scenes, inconsistent camera work, wacky camera angles…the list goes on and on. Loud sound effects constantly annoy the viewing experience as a lot of the audio quality is overdriven. There is no semblance of coherency when it comes to the editing, yet this is also a plot issue. In short, just having a pile of money to make a movie doesn’t produce results—it actually has to be applied properly.
Plot and Storyline Quality (-2 points)
Guided by constant narration from a maniac, whoever subjects themselves to this torture is forced to witness a descent into utter madness. Since the entire point of this film is to depict a zany trial sequence, the story speeds to this point and forces you to sit through the world’s most ridiculous legal premise, which is filled with heavy-handed messaging, obvious dialogue, and wacko strawman characters. Chey chooses the strangest villain concepts to caricature and fills the movie with bizarre theology. The story gets stranger and stranger as it goes on until you feel like you are the victim of the world’s most serious trolling. To get to the point, Suing the Devil is a juvenile effort and an absolute laughingstock of a movie. There is no justifiable reason for this debacle to have ever been created.
Acting Quality (-2 points)
But it gets worse. Emotions are extremely over the top and dramatic. There are too many sequences of yelling and some cast members get more and more unhinged as the film slogs on. It’s painfully clear that there was no thought put into any of this.
Is this film a joke? That’s the only conclusion we can come to. There is literally no point to this unstable diatribe that is fixated on Satan, oil companies, and big banks. Sure, all three of these have their share of problems (especially the devil), but are they worth dedicating a movie to? As Christians, we have too much of a tendency to give Satan more attention that he’s worth, and this movie is sort of an example of that. But otherwise, Suing the Devil is a collection of incoherent and downright asylum-insane psychobabble that does nothing except further tarnish the name of Christian film. Whoever keeps giving Timothy Chey money needs to stop, like now.
In an instant, millions disappear in what Christians call the Rapture. This leaves the planet in total chaos and unrest. The lives of four people are followed as they experience the fallout from this cataclysmic event. A rich football player in America wrestles with the fact that his wife has disappeared. An atheist professor finds himself stranded on a deserted island after his plane crashes. A girl from Argentina cannot remember what happened to her as she tries to piece the events of her life back together. A businessman from Tokyo wonders if his Christian friends were right about the end of the world. They will all have to struggle to survive in this new world.
Production Quality (-1 points)
It’s hard to remember the last time we saw a production this annoyingly horrible. For starters, the camera work and video quality are medieval, like the whole thing was recorded on a flip phone. The audio quality is perhaps the worst we have ever heard, from a loud soundtrack, to audio constantly cutting in and out, to distorted screeching dialogue, and to incessant background noises and cheap sound effects. The sets, locations, and props are very amateurish and cheap-looking. Finally, whoever edited this disaster should have quit to save their reputation since they had virtually nothing to work with. The film is very choppy and jumps all over the place, sometimes recycled old footage and sometimes using black and white footage randomly. The viewer is constantly reminded of the location and time through subtitles since there is no other way to understand what’s going on. In short, this is likely one of the worst productions in the all-time history of film making.
Plot and Storyline Quality (0 points)
The plot can do nothing to redeem this trainwreck, since there is very little real content to speak of. Filled with obvious dialogue and stiff, robotic characters, the storyline has zero continuity as random subplots jump all over the place and meander aimlessly. The characters are either obnoxious strawmen or cultural stereotypes. There are many bizarre asides, moments of unintentional comedy, and random things that just happen. Also, as expected, Final copies the typical apocalyptic plot progression but makes it their own by zooming through it at breakneck speed before crashing with a nonsensical end that is somehow supposed to be continued. In other words, this is Left Behind 2014 on steroids (or is it actually the other way around?).
Acting Quality (-1 points)
As these amateur cast members screech, squeal, and scream their way through this disarray, they either come off as lackluster or singsong. They are generally very obnoxious and over the top, obviously lacking coaching as they forcefully deliver their lines and emotions. We are unsure who is to blame for their ear-piercing delivery—the audio quality or the cast members themselves. Any way you cut it, it’s a mess.
With such low quality everything, what possessed the creators to make this garbage? Did they really think that they were going to make more of these, as this is presumably the first in an obligatory unfinished apocalyptic series? This is hands-down one of the most absurdly low quality films of all time, to the point that it should have been made it through post-production. The entirety of this wreckage should have been scrapped and never used again. It’s things like this film that drive us crazy.