Episodes
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Intermission is over! We return back to the 7TH STREET THEATER to watch our favorite stories about the fictional lives of Christian stage actors. This meta-media soap opera by Dave Christiano has always been one of the biggest examples of Christian fantasy to us, because it imagines a world where a Christian theater would be popular and high-earning enough to keep drawing in crowds week after week. We did an episode on 7TH STREET THEATER a few years ago where we covered more of the background about this show. Weâve basically forgotten all of our research since then, so we decided instead to focus on a four episode storyline called âTHE LETTERâ. In this arc, Christian stage actress Andi gets an admiring fan letter from a man who says he sees her show every week and has been praying to God for a Christian woman to enter his life. Andi has never seen this man, but his letters fill her with a mixture of excitement and confusion, especially when he says he is âattracted to her in every way.â Andiâs coworkers at the theater seem unreasonably excited for her and practically beg her to meet the guy, but Andi has doubt and decides to pray to God about it, resulting in a confusing plot-line about prayer as magical thinking. The admirer asks Andi to send a signal to him from the stage, but Andiâs signal is thwarted unknowingly by her cast members, blocking the meeting. Is this really a sign from God, or is it the beginning stages of mental illness? Almost every aspect of this scenario, from Andiâs reaction, to her coworkersâ reactions, to the insane letters themselves, seems wildly off base for how someone in real life would handle this situation. Itâs a pretty bizarre plot from a show that usually tries to be as tediously realistic as possible. Thatâs why thereâs no better introduction to prolific Christian creator Dave Christianoâs mind than THE LETTER.
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This amateur but ambitious work of CGI animation has developed a cult following online for its bizarre aesthetics. JOSHUA AND THE PROMISED LAND is the passion project of animator Jim Lion. Coincidentally (or not?) all of the heroic characters in the film are anthropomorphic lions. The film centers around Joshua, a young lion living in modern times. His bickering parents ask him to get out of the way as they prepare dinner, so Joshua goes to his room and uses his vivid childlike imagination and the powers of his imaginary best friend Chris (a floating dog made out of TV static) to warp back in time to the Old Testament era. Joshua and Chris meet Moses and join his wandering band of Israelites in the desert hunting for the Promised Land, and protagonist Joshua becomes the Joshua of the Bible, mentored by Moses to take over leadership of the Israelites after Mosesâs death. Joshua rises to the challenge and prepares for battle with the walled city of Jericho, one of the most famous Old Testament stories from Joshua 6. Jim Lion built a legitimately fascinating visual world of CGI for these famous bible characters to inhabit. The smooth, simple polygons and bright colors of Lionâs visual language are a powerful tool for communicating the surreal awe of Old Testament stories. The Old Testament is very hard to depict visually because the huge scope of its supernatural stories of death and destruction donât get a lot of breathing room within the Bibleâs terse, compact prose. Itâs obvious that JOSHUA AND THE PROMISED LAND is not an âaccurateâ depiction of these happenings, but the film does faithfully translate how seeing these events unfold with your own eyes would completely break your brain.
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Episodes manquant?
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Forget French body horror or the return of Francis Ford Coppola: real heads know the cinematic event of 2024 was this star-studded retelling of the life of REAGAN. With experienced director Sean McNamara at the helm (ON A WING AND A PRAYER, BRATZ, THE EVEN STEVENS MOVIE) we at Boysâ Bible Study were confident this filmâs depiction of Ronald Reagan would be respectful and thorough. Besides, many Americans are gearing up to vote in the most consequential election of our lifetimes, so it felt only right to review REAGAN and look back at the political values we cherish from our recent past as inspiration for casting our ballots. Dennis Quaid stars as Reagan using what appears to be a combination of prosthetics and digital de-aging (for Reaganâs younger years) that creates an otherworldly effect. Heâs joined by other âwhoâs whosâ of conservative Hollywood (Jon Voight, Robert Davi, Kevin Sorbo, Marshall Teague, and more) as well as some other surprising cameos. We were particularly excited to see Scott Stapp (former lead singer of Creed) in a quick cameo as Frank Sinatra. Much of REAGAN is re-told through grating narration of Jon Voight doing a bad Russian accent, representing the Soviet agents and politicians who the film claims monitored Reaganâs every move during his life, disturbed by his crusade against communism. REAGAN takes a nonstop glowing tone in its framing of the conservative presidentâs life and actions; everything Reagan done is perfect and in deliberate service to his master plan to fight the Soviets. Even the big bowls of jellybeans Reagan was known for keeping in the White House were a clever personality test for evaluating his cabinet, by seeing which flavors they chose. It seems clear that the REAGAN film is a piece of cultural warfare trying to inject some positive reviews of conservatism into the popular mindset, made by Hollywood conservatives who might relate to Reaganâs own background as an actor. Ultimately, this choice to uplift Reaganâs career at all costs makes the film a laughably ridiculous puff piece. Whatever your political values, tâs simply not serious to reduce the life of a consequential politician to the level of complication of a YA novel.
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In Bible verse Matthew 18:20, Jesus says, âFor where two or three are gathered in my name, there I am with them.â To which we ask: two or what? G-g-g-ghosts? This Christian horror film featuring a predominantly black cast gets a touch of celebrity from notable costars Luenell and Faizon Love. Itâs the only feature film directed by Roy Belfrey, and although itâs competently shot with some genuinely scary special effects, it suffers from narrative weakness by not coherently connecting the filmâs haunting to its overtly Christian message. The film centers around a recent high school graduate named Michelle who has perfect grades and a hardworking drive that gets her a full ride scholarship to a pre-med program at a college in Minneapolis, MN. Although her tight-knit Christian family has trepidations about letting their baby stray so far from the nest, they relent because the family happens to own property in the city. Unfortunately, this property has a problem: a ghost problem. It appears to be haunted by the spirits of Russian women who were killed on the property 100 years or so ago after refusing to cell their house to greedy businessmen. The haunting of the Wilshire house escalates the tensions explored in the film between the natural world and the spiritual world; Michelle is always trying to convince her superstitious family that there is a rational explanation for everything, but even Michelle canât explain the terrifying things happening to her. Finally, the haunting drives Michelle back with her loving family, although itâs unclear to us what Michelle learned from the experience, and how anything the film showed us has to do with the Bible verse Matthew 18:20, which was supposed to be the focal point. We at Boysâ Bible Study are still in search for a Christian horror film that threads the needle of its messaging instead of choosing style over substance.
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Christian filmmaking auteur Kenya Cagle consistently stuns us with his ambitious, surreal features that stretch the possibilities of narrative. We at Boysâ Bible Study are addicted to reviewing his films; this is our fifth selection of Cagleâs, including FATHER DAD, MY KING, THIRTEEN MONTHS, and arguably his magnum opus THE BOY WHO SAW CHRIST. All of these films will surprise you with riveting plot twists and cryptic dialogue. SIN APPLE was perfectly suited to our month spotlighting Christian horror because it portrayed a malicious âobeahâ witch named Madam Latasha and her evil love curses that work so well, their victims will do anything to break them. Protagonist Richard is obsessed with a woman named Lola so much that he asks Latasha to cast an unbreakable obsession spell. He then follows Latashaâs instructions by taking a selfie with Lola after the curse is in effect, disposing of the phone afterwards. But Richard messes up and his auntie Rhonda unknowingly retrieves the enchanted smartphone. Hell literally breaks loose as Richard gets devil eyes and goes on a murder spree around both Las Vegas and New York City. Sin City⊠and the Big Apple? Sin⊠apple⊠itâs all coming together.
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This stylish Christian horror film, possibly inspired by the SILENT HILL franchise, is based on a novel co-authored by the two titans of Christian supernatural fiction: Frank Peretti and Ted Dekker. These writers each sold millions of copies of their respective books throughout the 2000s, identifying and filling a niche for Christian supernatural thriller literature with exciting stories that still promoted a wholesome message. HOUSE is a collaboration between Peretti and Dekker, adapted into a feature film by director Robby Henson (THR3E) in a very lurid, saturated way that nowadays feels dated to the late 2000s, and could have been influenced by the burgeoning video game adaptation genre of cinema at the time. HOUSE as a film has interesting ideas but is barely held together with no narrative follow through. A couple experiencing domestic issues gets into literally three or four car crashes within the first ten minutes of the film, then stumble upon a remote cabin hotel with eccentric hosts who try to kill the couple before telling them the legend of the Tin Man, a psycho wearing a wooden mask who claims to have killed God. Weird southern gothic set dressing and video game-style quests hurtle the plot toward a disappointing climax where (spoiler alert) the Tin Man is defeated by light. Itâs barely coherent and barely Christian, and doesnât compare to other Peretti film adaptations we enjoyed such as HANGMANâS CURSE (2003), but at least itâs weird and funny with bold, bright colors that remind us how Christian cinema tried to merge with the secular in the chaotic and very silly decade of the 2000s.
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This Christian domestic horror begins with happy newlyweds Grant and Christie planning their new life together in the small Virginia town of Courtland, not knowing that their inability to understand each other will soon be the catalyst to disturbing supernatural events that will tear their relationship apart forever. Grant seems excited to provide for Christie at his new job fixing up foreclosed and abandoned houses, but is much less enthusiastic to fix up their own home with tons of problems, including a hole in the ceiling and a snake infestation. Grantâs inaction has effectively made Christie a prisoner in her own home; when her car breaks down and Grant gets mad at her for nagging him to fix it, Christie is left unable to go job hunting or even to the grocery store. But is this by Grantâs design? Meanwhile, Grantâs Bible study group is having discussions on the âcurse of Eveâ and Christie is beginning to see ghostly apparitions around their property. THE CURSE OF EVE is one of the most interesting Christian films weâve watched for our podcast because itâs not just meant to flatter its Christian audience, but offers a feminist critique of Christian social groups. This is rare for a genre of movies that thrives on its own persecution within secular pop culture, feeling like itâs always under attack from the world, so why point out its own insular problems? We at BBS consider Jasmine Deanne Andrews one of the most intriguing and talented DIY filmmakers in the faith-based genre right now not only for her compelling storytelling but also for her creative and sometimes truly bizarre take on digital cinematography.
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The newest film by the legendary Kendrick brothers, currently playing in theaters, feels impeccably focus-grouped for maximum impact of a Christian movie in 2024. Weâre not surprised that director Alex Kendrick and producer Stephen Kendrick were able to create another competent and successful Christian film. They have a history of huge box office success stories on relatively low budgets, including WAR ROOM (2015) which notably became the #1 film in America during its second week of release. On a reported budget of $5 million, THE FORGE has already grossed $26 million in its first month, which is huge in the faith-based genre. THE FORGE seems like a spiritual sequel to WAR ROOM; it casts a lot of the same actors from WAR ROOM in extremely similar roles, including Priscilla Shirer (daughter of mega-church pastor Tony Evans) as a strong but exasperated mother struggling with family issues. In THE FORGE, newcomer Aspen Kennedy plays recent high school graduate Isaiah Wright, a directionless 19-year-old without a father who is unemployed and seems to have no passions in life beyond video games and basketball. When he gets a part time job at local business Moore Fitness, CEO Joshua Moore (played by Cameron Arnett) takes Isaiah under his wing and becomes the father he never had. With the help of an exclusive Christian menâs club called âThe Forgeâ, Isaiah finally feels motivation to become the man he has always wanted to be. But unspoken in the filmâs plot is how the setting of THE FORGE, Moore Fitness, is meant to resemble an Amazon fulfillment warehouse. THE FORGE attempts to bring dignity and motivation to fulfillment center employees through an unimaginable plot line where Isaiah and his coworkers volunteer to work a 24 hour shift to save the company. Sadly, this feels laughably out of touch for a film that otherwise does an eerily good job of elevating the mundane of an everyday Christianâs life in todayâs fallen world.
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Body swapping is a time-honored film trope, especially in family-friendly inspirational comedies, where a character might âwish upon a starâ to switch lives with someone who makes them jealous. Since God can make anything possible through prayer, Christian genre films are a perfect fit for this concept. SWITCHED lulls its audience into a false sense of security by beginning as one might expect a Christian teen body swap movie to go: a socially anxious Christian girl named Cassandra prays her school bully, the famous social media influencer Katie, could experience a day in the lives of her bullying victims. The two girls awaken the next morning in each othersâ bodies, and the high jinks begin in school as both must train each other to carry out their their day-to-day lives without being able to explain their unbelievable circumstances. Katie must learn how to play folk guitar for a Julliard audition; Cassandra is now interviewing for a prestigious influencer position on âThe Glam Slamâ. Itâs cute in theory, but SWITCHED ultimately fails because of some bizarre plot choices. Although aiming for originality is admirable, why would Cassandra (who is now inhabited by Katieâs soul) flirt with her own biological brother? Why would Katieâs parents (portrayed in celebrity cameo roles by John Schneider and Denise Richards) be so lackadaisical about Katieâs influencer career, even though they quit their jobs to support her work? SWITCHED is full of delightfully campy moments, like the UI of fictitious social media network The Social, but its desire to be perceived as easily watchable family fare that is light on the Christian message is thwarted by a confusing story that doesnât stick the landing.
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The collaborations between Baptist preacher Estus Pirkle and the Ormond family of filmmakers are considered some of the most legendary Christian genre films ever for their shocking imagery and urgent sermonizing. With our review this week of THE BELIEVERâS HEAVEN, we here at Boysâ Bible Study have now reviewed the entire trilogy, which also includes IF FOOTMEN TIRE YOU, WHAT WILL HORSES DO? and THE BURNING HELL. All three films feature fiery narration by Estus Pirkle intercut with colorful, dramatic vignettes by the Ormonds. THE BELIEVERâS HEAVEN is unique in the trilogy for focusing on the pleasure of heaven rather than the tragedy of earth or the horrors of hell (but donât worry â we still get enough of those in this piece to keep our interest piqued.) âIn My Fatherâs House there are many mansions,â says Estus Pirkle quoting John 14:2. He then proceeds to take us on a tour through a real mansion to hype us up for the delights of heaven. This gleeful literalness drives the rest of the film, which includes lots of time spent filming Christians with physical disabilities to prove to non-disabled viewers that they should be excited to take on âglorified bodiesâ in heaven. However, the close-up shots on the deformities of disabled people remind the viewer that the Ormond family first made their mark in vaudeville and carnival entertainment, where the disabled were frequently displayed as sideshow âfreaksâ. By titillating the viewer at the expense of the disabled and in the name of religious education, the Ormonds show their talent as âmondoâ genre filmmakers, a style marked by a moralizing tone that barely disguises the actual purpose of selling the audience on morbid or lurid imagery. The contrast between the exploitative tone of the Pirkle/Ormond films and their seemingly sincere moral message makes THE BELIEVERâS HEAVEN, and the rest of the trilogy, one of the most fascinating watches in all of faith-based film.
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This silent movie that graphically depicts the famous epic poem Inferno by Dante Alighieri was a box office success in its day, grossing $2 million worldwide due to its longer-than-usual runtime for the era (about 70 minutes) and its titillating imagery, including hundreds of nude actors. LâINFERNOâs aura is still creepy more than 110 years later because the practical effects and camera techniques deployed by the filmmakers are extremely creative and sophisticated. We at Boysâ Bible Study found LâINFERNO a fascinating watch because it caused us to ponder some of the same questions we ask of Christian genre films from the 2020s, including: is this film truly Christian or hiding behind the claim of a wholesome message to sell graphic scenes of sex and violence? Is a shocking depiction of hell on film an effective missioning tool, or does it simply arouse the senses? We suspect in this case the filmmakers simply thought Danteâs Inferno was thrilling source material to explore using the burgeoning medium of film, but perhaps LâINFERNO sold some tickets to curious Christians who wanted a moral excuse to enjoy risquĂ© entertainment. We also theorize that Danteâs Inferno completely changed societyâs idea of hell as a concept â perhaps contemporary Christianityâs idea of fire and damnation doesnât come directly from the Bible, but instead from Danteâs impressive Bible fan-fiction. Either way, this film inspired us to avoid being âsimonistsâ, who Dante depicts as being buried upside down in hell with their feet above ground and tortured for eternity. Nasty stuff!
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Letâs journey deeper into the twisted mind of Tim Chey, the Christian movie auteur responsible for some of our favorite films about the evils of money, Hollywood, and sports. Last week on this podcast, we congratulated Mr. Chey on the success of his newest film THE FIRING SQUAD, which we saw in theaters. This week we catch up on his most recent filmography weâve neglected: 2022âs JOURNEY TO HELL. This is Cheyâs take on the Divine Comedy trope of a guide leading a mortal spirit through hell, but the film is actually based on a John Bunyan novel instead of Dante. In Cheyâs adaptation, protagonist Shane Badman is a successful entrepreneur and unsuccessful Christian who believes himself to be saved but is shocked after he perishes in a surfing accident only to wake up trapped in Hell for eternity. As we watch flashbacks of Shaneâs corrupted earthly lifestyle, including an extremely meta scene where he makes fun of a bad Christian film, we also enjoy a guided tour of hell and all of the strange characters Shane meets along the way. Shane talks to Mao Zedong, the Zodiac Killer, the Columbine shooters, Vegas shooter Stephen Paddock, an unnamed âiPhone CEOâ, and even a certain FĂŒhrer who you might remember from history class. Theyâre all there on a mission to humble Shane and get him to realize that his meager faith on Earth was no match for his pride, which was ultimately his downfall. JOURNEY TO HELL is a sobering depiction of the consequences of a life without God, where demons are depicted as micromanaging human labor for all of eternity⊠which honestly just sounds a lot like Earth.
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We here at Boysâ Bible Study jump at the chance to see a brand new Christian movie in theaters, especially one made by a director we trust as much as Tim Chey. THE FIRING SQUAD is the sixth film of his weâve reviewed for the pod and we found it to possess some of the quirks and qualities we expect from a Chey joint: groups of hunky guys having fun together, D-list stunt casting, evangelical Christianity, and a bizarre hatred of sports. THE FIRING SQUAD finds established Christian genre superstars (Kevin Sorbo, Eric Roberts), a fallen former Oscar winner (Cuba Gooding Jr.) and newcomer James Barrington in a nonsensical plot set in an Indonesian prison, allegedly based on a true story (it's not; we canât find info on these events anywhere.) Several foreigners facing the death penalty for drug charges in the draconian Indonesian justice system band together in the prison chapel to share the word of the Lord, resulting in some unlikely conversions and a feeling of peace despite the tragedy of impending death by firing squad. Now, we at BBS are all about DIY filmmakers using their big imaginations to tell stories beyond their means, but some of THE FIRING SQUADâs asks of its audience to suspend our disbelief were a bit much. How did Cuba Gooding Jr., stuck in maximum security prison, acquire three formal suits that fit the protagonists perfectly so they could pretend to be âthe mediaâ and escape? Why are the prison doors always open, with guards and prisoners fraternizing like a freshman year university dormitory? Then again, the plot inconsistencies were so perfectly Chey that we think THE FIRING SQUAD might be the prolific anti-sports directorâs most solid and enjoyable film yet.
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One of the most bizarre and singular pieces of Christian media weâve ever watched is this dreamlike documentary from the minds of father/daughter writer/director team Derek and Vanessa Frank, who assembled some of the biggest names in Christian film history to shake the Protestant Reformation down to the âdemonic conspiracyâ at its very core: the anti-semitic teachings of Martin Luther and John Calvin. In LET THE LION ROAR, Kevin Sorbo, Stephen Baldwin, Eric Roberts, John Schneider, and young up-and-comer Ben Davies star as 16th-century European historical figures who don funny hats and monologue their virulently anti-Semitic views to the camera for extended scenes, some lasting for several minutes at a time. Writer Derek Frank believes that the major weakness that plagues Protestantism is its insufficient respect for the Jewish faith and an unwillingness for the Christian church to become fully âgrafted into Israel.â Mr. Frank has written five more âtheses,â to add to Martin Lutherâs famous 95 Theses of 1517, that propose full deference to Jews from Protestants that he hopes will heal Christianity and save it from vague, unitarian sluggishness that he reads as weakness. This is an ambitious and extremely boring goal to try to sell to an audience, but the Franks make it fun with uncanny corporate stock footage and a series of costume changes that make Derek Frank look like the Architect from The Matrix, if that character were a hardcore Zionist. In general, Derek Frankâs extreme passion for his case of âfinishingâ the Protestant Reformation is what sells this documentary â he gazes directly at the audience severely like a cat that has just cornered a mouse and wants to talk to it about Israel for an hour before dealing the death blow that will wipe it out of existence forever. The Lion of Judah is a lion after all, and Derek Frank teaches us that to hammer your point home, you must approach your argument with the ferocity of an apex predator.
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This lurid and captivating film about a family besieged by demons after attempting to contact their deceased loved one via an occultist could only have been produced from the singular vision of the Ormonds. To us at Boysâ Bible Study, writer/director Ron Ormond, his wife June and their son Tim are the âfirst familyâ of Christian movies. Some of the Ormondsâ most famous films, such as IF FOOTMEN TIRE YOU, WHAT WILL HORSES DO? (1971) and THE BURNING HELL (1974) are still considered Christian genre classics decades later, known for their gripping exploitation-style treatment of Christian messaging that likely emerged from the familyâs shared background in vaudeville performance. This same showbiz charisma could also explain why the Ormondsâ films were financially successful, widely distributed through church tours that were sometimes accompanied by a live presentation by Tim Ormond saving the souls in the audience who had just been moved by a shocking film experience. THE GRIM REAPER is plenty shocking; the Ormonds are skilled at DIY costuming and special effects to depict the supernatural horror of the world of demons, making Satan come to life for viewers to effectively demonstrate why tampering in the occult could doom their souls forever. Celebrity guest preachers Jerry Falwell (!) and Jack Van Impe (!!) also stop by the Ormondsâ set to deliver sermons addressed directly to the camera, hammering down the central theme of THE GRIM REAPER: hell, Satan, and his demons are very real. If you donât believe in demons, you may as well not be a Christian.
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Merry Christmas in July! We love Christmas movies for their tedious pleas for a return to small town values despite clearly being written by effete big city media types. CHRISTMAS WITH A CAPITAL C is one of the most glaring examples of this weâve ever encountered, which makes it extremely charming. Dan Reed (Ted McGinley) is the affable mayor of a small Alaskan town with the seemingly perfect life, until his former high school rival Mitch Bright (Daniel Baldwin, who sounds almost exactly like his brother Alec) returns to Alaska after making it big in the city with a plan to dethrone Dan as mayor and finally separate church and state by removing the Nativity display from city hall. Itâs pretty obvious that this is a stupid idea and our hero Dan is going to prevail, which he quickly does, humiliating Mitch by revealing that his ârich and successfulâ act is a total lie. Whatâs more interesting here is how CHRISTMAS WITH A CAPITAL C reveals that many adults are perpetually stuck repeating their high school humiliations, living their lives according to whether they were designated a âwinnerâ or a âloserâ at age 15. Also, the film is notable for a show stealing performance by Christian stand up comedian and film producer Brad Stine, who wrote the song that inspired the story of this film and who doesnât let a scene of his go by without completely chewing up the scenery. Donât believe in CHRISTMAS WITH A CAPITAL C? Get on the mic at your local city council meeting and let them have it.
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This DIY surf thriller about the son of a military spy superstar is way more than meets the eye, revealing its intense Christian and poly-spiritual themes in an audacious 45 minute long opening monologue. SURFER: TEEN CONFRONTS FEAR is the first feature film by writer and director Douglas Burke, a physics professor at USC with a lifelong passion for surfing and theater. Burke seems interested in the ways the physical and metaphysical intertwine; most of the dialogue of SURFER attempts to explain the unseen cosmic forces that guide our observable physical reality. In the film, a young surfer played by Mr. Burkeâs real life son Sage experiences a near death experience while surfing that causes him to abandon the sport. He is visited by the reanimated spirit of his dead father, played by Douglas Burke himself, who warns Sage that the new physical body which has been crafted for him by God using âsquid and electricityâ will only survive for a short enough time to reignite Sageâs passion for surfing. This scene between Douglas and Sage is truly astounding â it lasts for 45 minutes (nearly half of the filmâs total runtime) and constantly escalates in emotion. After this transformative exchange, Sage finds a top secret military hospital, where a doctor called Banks (Gerald James) has information that could change the way Sage understands his world forever. We at Boysâ Bible Study were lucky enough to catch the Los Angeles premiere of SURFER back in 2018 before we ever had a podcast. Weâre excited to share this bizarre and wonderful film with our listeners while also diving deep within its fascinating spiritual worldview. Itâs your whale, boy!
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Billing itself as a light-hearted Christian family film, MOMSâ NIGHT OUT is accidentally a chilling indictment of millennial parenting. Allyson is a busy full-time stay-at-home mom with aspirations to run a famous mommy blog. Feeling unfulfilled in her role as a mother, she decides to decompress with a night on the town accompanied by her two best friends Sondra and Izzy. Despite the full support each mom gets from her family for a well-deserved break, the act of the moms leaving their respective houses triggers a series of chaotic and traumatic events that are supposed to be funny but are actually extremely stressful. Every character is a terrible communicator, and you get the sense that moms having fun disrupts some kind of ancient social order to the point of severe consequences for everyone involved. Directed by the Erwin brothers (I STILL BELIEVE), MOMSâ NIGHT OUT is a competently-produced and commercially successful film, drawing appeal from its relatively star-studded cast including Sarah Drew (GREYâS ANATOMY) Sean Astin (LORD OF THE RINGS), Patricia Heaton (EVERYBODY LOVES RAYMOND) and country singer Trace Adkins. Even more important to us at Boysâ Bible Study are featured performances by Christian film scene veterans Andrea Logan and also Alex Kendrick, one of the famous Kendrick Brothers, who have created and starred in some of the highest grossing Christian movies of all time. We were excited to watch MOMSâ NIGHT OUT for Mothersâ Day, but forgot, so we watched it for âMothersâ Day In Julyâ and ended up being horrified by the filmâs grating millennial humor and depiction of each character as simultaneously whiny and helpless yet obsessively self-important. Bible Boy Julian calls the depcition of family in MOMSâ NIGHT OUT âscarier than THE HANDMAIDâS TALEâ and we think our gentle listeners will agree.
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The ominously named Wallbuilders organization, founded by David Barton, have a mission to â[help] Americans remember and preserve the true history of our great nation.â Thatâs great I guess, but what exactly is it that they⊠do? One of their main cultural outputs seems to be a documentary series affirming the Christian history of the United States, so we at Boysâ Bible Study couldnât think of a more fun and enlightening way to celebrate Fourth of July than spending two hours absorbing THE SPIRITUAL HERITAGE OF THE UNITED STATES CAPITOL. Basically, someone let David Barton in the Capitol Building in Washington D.C., and he spent his night there filming a guided tour of the art and artifacts within the space, showing how each piece proves that the mission of the Founding Fathers was explicitly Christian. We learned a ton about the Christian habits and exploits of the greatest guys of all time, and we see fun art objects such as a painting of the baptism of Pocahontas, and a cool statue of an astronaut (not Christian.) Curiously, David Barton and the Wallbuilders never say in the documentary what the conclusion is that they draw from poring over all of this evidence. It seems like they want to say that the idea of a separation between church and state should be abolished, but they donât ever actually say that â instead, they just kind of drone on about how itâs sad that public schools donât teach that John Quincy Adams read the Bible once per year. Despite there being some genuinely interesting facts dispensed, and they filmed fun historical reenactments of guys in powdered wigs talking about stuff, we canât help but conclude that if the Founding Fathers thought Christianity should be the explicit law of the United States, they would have written it in the damn Constitution. No one was stopping them. Next!
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We continue our study of the great Kenya Cagleâs filmography with this psychological thriller about the most dysfunctional family to ever live⊠and die. Stacyâs family is haunted by tragic violence, from the disappearance of her mother to the imprisonment of her brother Leroy in a mental institution after he killed their father. Stacy now hides with her grandma âMommaâ in a remote cabin in Long Island, but their plans to lay low are thwarted one dark and stormy night when Leroy shockingly turns up at their door, having escaped the institution. Leroy fixes himself a sandwich in an excruciatingly long scene as Stacy and Momma plan their escape. Guns are drawn, tires are slashed, and a helpful policemen is stabbed as the grandma/daughter duo attempt to reason with Leroy, who theyâre worried could kill them in a confused rage. But is Leroy really the danger here? Food related memories, from Leroyâs bologna sandwich to Stacy and Leroyâs favorite gumbo as a child, could unlock the secret to twisted family history. This âCaglevisionâ film is barely a Christian movie, but itâs worth a watch to experience yet another one of Cagleâs overwrought family dramas where a mother figure is painted as the ultimate evil. Kenya Cagle is a truly inventive storyteller who directs compelling performances out of amateur actors, and even though he has a tendency to âlose the plotâ and focus on story details we as viewers really donât care about at all, itâs always impressive and entertaining to see what he can accomplish on a shoestring budget.
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