Sons of Thunder, Season 1 [2019] (Series Review)

Plot Summary

Simon, ever since becoming a Christian, doesn’t want to be in his motorcycle gang anymore, but the gang leader won’t let Simon out very easily. Afraid for his girlfriend’s life and uncertain of the future, Simon decides to go on a road trip since he thinks this will keep everyone safe. Along the way, Simon hops from town to town, trying to make enough money to pay his way. In each area, he’s able to magically help someone before he has to return to his pursuit of unknown goals. The question is, will he ever be safe from the grasp of the biker gang?

Production Quality (2.5 points)

For the most part, in keeping with the new ways of a well-funded PureFlix machine, Sons of Thunder sports a respectable production. This is evident in the video quality, camera work, and audio quality, including a pretty good soundtrack. Sets, locations, and props are also above average. Despite some obvious continuity errors and less-than-perfect editing, this production improves as it goes. Thus, this section is easily the strongest point of the series.

Plot and Storyline Quality (.5 point)

From the get-go, the first season of Sons of Thunder is full of constant narration, which is only combined with cheesy, juvenile dialogue that’s quite obvious and expository in most scenes. Many of the plot’s circumstances come off as unrealistic and trumped up, and many of the situations characters find themselves in seem quite staged and contrived just to move the narrative forward. This makes it difficult to know who the characters actually are and why they do what they do other than the fact that they are pawns in the whims of the storyline, which forces everything to reach certain conclusions, no matter how unnatural the premises may be. Some characters have extreme swings in their behaviors without legitimate explanations or catalysts, all just to make specific instances transpire. Besides these obvious problems, the fact that the protagonist can just stumble from town to town without any clear direction or objective and always find some kind of sticky situation to patch up with his wisdom before quickly leaving without good explanation is pretty ridiculous. Why would so many people trust him and benefit from him right in a row, and how would one person benefit from so many coincidences? Elsewhere, the villains and ‘bad’ characters are beyond cheesy strawmen, and basically all of the action sequences are unrealistic. However, surprisingly, not all is bad in this section since there is a consistent presence of partially effective flashbacks that build some semblance of a backstory for the main character. Further, there are some interesting themes explored in a few of the episodes, such as desperate people doing illegal things for desperate reasons, but any good is easily wiped out by the cringe-worthy climax that leaves the viewers with a painfully obvious attempt to create a second season of this madness. Therefore, only half a point can be awarded here.

Acting Quality (2 points)

Moreover, despite obvious plot problems, the acting of this series actually isn’t half-bad. Though there are moments of unsure delivery and while some performances could be better, this section is at least above-average. Dramatic scenes are a bit overacted at times, and the villain cast members were presumably coached to be absurd. Nonetheless, this aspect of the season shows improvement with time, which is enough to warrant this score.

Continuity Quality (1 point)

Sons of Thunder follows a typical recurring drama model that hearkens back to The Lone Ranger where every episode has different characters save for the main ones. As such, the protagonist hops from situation to situation, easily resolving problems within the given episode time frames. In this pursuit, episode conclusions aren’t backed up by logical progression and are rushed for the sake of time. Every episode ending is essentially the same, and while the flashbacks tend to interrupt this mold, it’s not quite enough. Another predictable aspect of this series is its use of the premiere and finale episodes to explore the bigger subplot outside of the smaller episodic ones, and though not all is bad, it’s just not quite there.

Conclusion

Despite itself, this series is actually best PureFlix Original series to date, which is really saying much considering the other options (see The Encounter, Hitting the Breaks, Malibu Dan the Family Man, and Hilton Head Island). Sons of Thunder has moments of potential and is definitely well-funded, but it just commits too many avoidable errors, mostly pertaining to poor writing. However, this isn’t anything new when it comes to PureFlix, so, at this point, we unfortunately don’t expect anything less from them.

Final Rating: 6 out of 14 points

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May 19, 2020 by Box Office Revolutionary Categories: Drama, Inspirational, Series Reviews, SuspenseTags: Acorye' White, Adam Cope, Alec Rayme, Amanda Joy Erickson, Amos Elseth, Anna Zielinski, Benjamin Schile, Chaz Taylor, Claire Seneca, Creek Wilson, David A. R. White, Deke Anderson, Don Swayze, Donna Morrell Gafford, Drama, Emily Peachey, Gabriel Sabloff, Gerald Brodin, GiGi Erneta, Grady McCardell, Inspirational, J.B. Barrett, Jeffrey Decker, Jeremy Lawson, Jesse Gallegos, Johnny Ray Gibbs, Jonathan Glenn, Katherine Elseth, Kimberley Bliquez, Loren F. Gilley, Martin Elfrey, Mavrick Von Haug, Mayra Leal, Michael Kruger, Michael P. Collier, Ned Yousef, PureFlix, Randal Reeder, Red State Entertainment, Remy Carter, Rex Mundo, Richard Reeder, Sam Medina, Susan Gallagher, Suspense, Tom Zembrod, Vanessa Angel Leave a comment

Revelation Road 3: The Black Rider

Plot Summary

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.

Conclusion

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.

 

Final Rating: 6 out of 10 points

 

May 26, 2016January 16, 2019 by Box Office Revolutionary Categories: Action Adventure, Apocalyptic, Movie Reviews, Psychological, SuspenseTags: 2014, 6 points, Action Adventure, Alan Boell, Allen Merritt, Ann Ayres, Apocalyptic, Brad Heller, Bradley Dorsey, Brian Bosworth, Brooks Hannan, Bruce Marchiano, Cristina Cibrian, Dallas T. Taylor, Darrell Chumley, David A. R. White, David de Vos, Dea Vise, Gabriel Sabloff, Gerald Brodin, Heath McGough, Hilty Bowen, James Denton, Jeffrey Peterson, John Orr, Jules Hartley, Justin Derosa, Kevin Sorbo, Kevin Wayne, Lance Channing, Latigo Entertainment, Mark Hansen, Michael Bailey Smith, Michael Scott, Miles Wooden, Perry Hinson, Pete Fields, Psychological, PureFlix, Revelation Road series, Robert Gossett, Russell Wolfe, Sage Pistocco, Sci-Fi, Scott White, Sean Paul Murphy, Sewell Whitney, Shelley Robertson, Speculative, Suspense, Tom Zembrod, Tony Payne, Tori Carew, White Door Media, Will Musser 3 Comments