Anna Grace Barlow Archives

Review: ‘Jesus Revolution,’ starring Joel Courtney, Jonathan Roumie, Kimberly Williams-Paisley and Kelsey Grammer

March 1, 2023

by Carla Hay

Joel Courtney and Anna Grace Barlow in “Jesus Revolution” (Photo by Dan Anderson/Lionsgate)

Directed by Jon Erwin and Brent McCorkle

Culture Representation: Taking place primarily in California in the early 1970s (with some flashbacks to the 1960s), the faith-based dramatic film “Jesus Revolution” features a predominantly white cast of characters (with a few African Americans) representing the working-class and middle-class.

Culture Clash: A troubled and wayward teenager finds his purpose in life when he joins a group of hippies who become born-again Christians.

Culture Audience: “Jesus Revolution” will appeal primarily to people who are interested in watching faith-based biopics that make real events and real people look overly contrived for the purpose of the movie’s agenda.

Jonathan Roumie (second from right) and Kelsey Grammer (far right) in “Jesus Revolution” (Photo by Dan Anderson/Lionsgate)

The problems with “Jesus Revolution” have nothing do with religion. This 1970s-set biopic drama about Harvest Crusades founder Greg Laurie has too many bad scenes with hokey dialogue and subpar acting. Many of the cast members are not convincing as hippies. It’s an unfortunate drawback to the film, whose very foundation is about how counterculture hippies in early 1970s California became Christian fanatics who were part of the Jesus movement that spanned from the late 1960s to the early 1970s.

Directed by Jon Erwin and Brent McCorkle, “Jesus Revolution” is a disjointed and somewhat rambling movie that can’t decide how much it wants to be a biopic (which it mostly is) and how much it wants to be a historical drama about a Christian youth culture movement that peaked in 1972. Erwin and Jon Gunn co-wrote the “Jesus Revolution” screenplay, which is based on Laurie’s 2018 memoir of the same name. The movie has a lot very corny and trite scenarios that don’t look authentic at all. If this movie had not been based on a true story, then this lack of authenticity might be easier to overlook.

In its over-reaching zeal to put a glossy spin on this movement, “Jesus Revolution” never adequately addresses how hippies who wanted to drop out of society and turned to drugs could then want to become part of society and preach against their formerly “sinful” lifestyles. “Jesus Revolution” makes it look like all it would take for people to change their lifestyles so dramatically in a short period of time is to attend a few services at a church led by a sympathetic pastor. “Jesus Revolution” also looks like it deliberately omitted a lot of unflattering information about Laurie during the period of time in his life that is depicted in the movie.

Greg Laurie (played by Joel Courtney), who is the main protagonist of “Jesus Revolution,” is shown in the beginning of the movie attending a Christian group mass baptism at Pirate’s Cove in Pismo Beach, California, sometime in 1971. Most of the people getting baptisms at this event are people in their teens and 20s. Greg is about 18 years old at the time. At Pirate’s Cove, Greg is being interviewed by a reporter named Josiah (played by DeVon Franklin) from Time magazine. Josiah asks Greg, “How did you end up here?”

The movie then flashes back to a year earlier, when Greg was a student cadet at a strict military academy. At the time, he was still living with his alcoholic, divorced mother Charlene (played by Kimberly Williams-Paisley), who pressured Greg to attend this school. Greg’s father abandoned the family when Greg was a very young child and has not been in contact with Charlene or Greg ever since leaving.

It’s not clear how long Charlene has been an alcoholic, but the movie implies that she went on a downward spiral after Greg’s father left the family. Flashbacks to the 1960s show that Charlene is often a neglectful parent who gets involved in several bad relationships. (Jackson Robert Scott has the role of an adolescent Greg in these flashbacks.) In real life, Greg Laurie’s mother was married seven times. He and his mother also moved around a lot.

In the movie, Greg keeps hoping that his father will come back to the family someday, but Charlene abruptly tells him not to bother thinking that Greg’s father will ever contact them again. When Charlene decides to move to California for a fresh start, Greg is upset because he thinks that his father won’t be able to find them if they move. Charlene and Greg settle in California’s Orange County, near Long Beach. By 1970, Greg is enrolled in a military academy and not liking it very much. He is a loner who doesn’t seem to fit in anywhere.

One day, Greg (who is an aspiring illustrator) is taking photos at a park when he meets a hippie around his age named Charlie (played by Nicholas Cirillo), who is friendly and very stoned. Charlie immediately notices that Greg has been staring at Charlie’s attractive blonde friend named Cathe (played by Anna Grace Barlow), so Charlie introduces Cathe (pronounced “Cathy”) to Greg. Cathe is impressed that Greg reads the work of poet/writer Allen Ginsberg, because she does too. It’s at this point in the movie that you know Cathe and Greg will eventually fall in love with each other. Greg is instantly smitten, but he’s insecure and shy, compared to confident and outgoing Cathe.

Charlie and Cathe invite Greg to a “happening” (a gathering of young people who want to party), which is taking place in Laguna Beach. Janis Joplin (played by Erin Schaut) is doing a concert on a beach. The concert looks very fake because die-hard Joplin fans know that she never did this type of beach concert in real life.

The way Greg goes to this concert looks very phony too. Charlie and Cathe show up outside the window of a classroom where Greg is. They tell him he needs to go with them to the concert right now. When Greg gets up to leave, the classroom instructor says that if Greg leaves, he can’t come back. Greg tells the teacher that Greg is counting on not coming back.

Meanwhile, a Christian pastor named Chuck Smith (played by Kelsey Grammer) and his devoted wife Kay Smith (played by Julia Campbell) are watching the TV news in their home and expressing disgust at the hippie movement, which they think is degenerate and the cause of lot of America’s problems. “They need a bath,” Chuck sneers when he comments about hippies. (In real life, Chuck Smith founded the Calvary Chapel movement.)

Chuck leads a Costa Mesa, California-based church that is struggling with a dwindling congregation. Chuck and Kay have a slightly rebellious daughter named Janette Smith (played by Ally Ioannides), who’s about 17 years old. Janette looks bored every time she has to go to church. Unlike her parents, Janette thinks “what the hippies are doing is beautiful.” She tells her skeptical parents that hippies want the same things that conservative Christians want: “peace and love.”

One day, Janette is driving by herself on a deserted road, when she sees a hippie in his 20s who is walking by himself. Because Janette is fascinated with hippies, she stops the car and asks this stranger if he wants a ride. It’s a very unsafe thing to do, but Janette doesn’t care, because she wants to get to know a hippie instead of just hearing about hippies from the media. The hippie says yes to Janette’s offer for a ride.

His name is Lonnie Frisbee (played by Jonathan Roumie), and Janette immediately brings him home, to the horror of her parents. Lonnie admits to Chuck that he takes illegal drugs for “spiritual enlightenment,” but Lonnie insists that he is also very religious and believes in Jesus Christ. It doesn’t take long for Lonnie to invite his hippie friends to go over to the Smith house without asking permission. (How rude.)

And then the next thing you know, Lonnie and his hippie pals are going to Chuck’s church, where Lonnie gives a rambling sermon while barefoot. Some of the congregation members are repulsed and quit the church when Chuck refuses to reject and ban the hippies. Chuck sees the benefit of having young people increase his church’s attendance, so he eventually learns to accept the hippies.

Meanwhile, Greg gets involved in taking drugs and partying a lot with Charlie and Cathe. He becomes part of Lonnie’s born-again hippie Christian crowd when he meets Lonnie by chance one very rainy night. It’s another scene that looks entirely fabricated for a movie.

Greg is a passenger in a car driven by Charlie, who is intoxicated from unnamed substances. The car is swerving on a street and narrowly misses hitting another car. Greg is so freaked out, he gets out of the car and runs away. And when he runs away in the rain, he sees Lonnie walking by himself on the street, which is apparently the way that teenagers in “Jesus Revolution” meet Lonnie.

The rest of “Jesus Revolution” is a predictable slog of Greg and Cathe getting caught up in the born-again Christian movement, where they recruit other young people. Lonnie becomes an important part of Chuck’s ministry. Greg joins a Christian rock band called Love Song. Cathe’s father Dick (played by Nic Bishop) disapproves of Greg because Greg doesn’t come from a “good family.” And there’s more family drama with Greg’s mother Charlene.

Of course, “Jesus Revolution” has lots of scenes of young hippies gathered in large groups and praising the Lord in ecstasy. Although the movie makes it look like it’s all a natural high, the reality is (as Lonnie hints at in the movie), a lot it was probably done under the influence of drugs. And that’s one of many reasons why “Jesus Revolution” doesn’t look entirely honest, because in the movie, realistic drug issues are either ignored or dealt with in a preachy manner.

Although many drug-using hippies no doubt gave up having a druggie lifestyle after becoming born-again Christians, the movie doesn’t really acknowledge that a lot of the hardcore drug-using hippies who became part of the Jesus movement didn’t just wake up one day and decide to quit using drugs. “Jesus Revolution” makes it look like all these drug-using hippies suddenly became clean and sober once they became born-again Christians. In reality, people’s lives are much more complicated than that.

“Jesus Revolution” also avoids acknowledging that although the Jesus movement preached inclusivity of everyone, the young hippies (almost all are white) who get the focus in this movie came from middle-class and affluent families—in other words, people who could afford to “drop out” of society or go to college and not have the responsibilities of a steady job for a few years. At one point, Lonnie says: “We’re all orphans. We’re a movement of orphans.” Well, a lot of these “orphans” had trust funds.

Chuck’s acceptance of these hippies into his church probably wasn’t as altruistic and spiritual as the movie makes it look. There was probably a financial incentive too. More congregants can result in more donations for Chuck’s church. A lot of these hippies might have been walking around in bare feet, but they weren’t poor.

There’s a very mushy scene where Chuck responds to some churchgoers’ complaints about the hippies attending church in bare feet. In order to prove that he has the humility of Jesus Christ, Chuck washes the feet of the hippies (just like Jesus did in the Bible) when they enter his church. Chuck goes from being a hater of hippies to being one of their biggest supporters in his community.

“Jesus Revolution” has a good selection of soundtrack songs, including Rare Earth’s 1971 hit “I Just Want to Celebrate” and the Doobie Brothers’ 1972 classic “Jesus Is Just Alright.” However, the movie just looks like a bunch of cast members playing 1970s dress-up (some of them in really cheap-looking wigs) and reciting their lines of fake-sounding dialogue. And ultimately, the movie looks more like a fairy tale than an authentic depiction of real people involved in a historical movement.

Lionsgate released “Jesus Revolution” in U.S. cinemas on February 24, 2023. A special sneak-preview event of the movie was held in select U.S. cinemas on February 22, 2023.

Review: ‘Witch Hunt” (2021), starring Gideon Adlon, Elizabeth Mitchell, Abigail Cowen, Echo Campbell and Christian Carmago

March 23, 2021

by Carla Hay

Gideon Adlon and Abigail Cowen in “Witch Hunt” (Photo courtesy of Momentum Pictures)

“Witch Hunt” (2021)

Directed by Elle Callahan

Culture Representation: Taking place in the fictional California city of Thirteen Palms, the horror film “Witch Hunt” features a predominantly white cast (with a few Latinos, Asians and African Americans) representing the working-class and middle-class.

Culture Clash: A teenage girl is conflicted over her mother illegally hiding witches in their home to prevent the witches from being arrested, deported or murdered by government officials.

Culture Audience: “Witch Hunt” will appeal primarily to people who are interested in horror movies about witches and with teenage main characters, but the movie isn’t very scary and squanders the story concept with a rushed and disjointed ending.

Christian Carmago and Elizabeth Mitchell in “Witch Hunt” (Photo courtesy of Momentum Pictures)

“Witch Hunt” has a very interesting concept that would have resulted in an outstanding horror film if it had been handled in better ways. The concept is that in the United States, witchcraft is illegal, and a teenage girl has mixed feelings about her mother being part of an underground network that hides witches who are targeted for arrests, deportations or executions. It starts out as an intriguing horror movie with timely allegories about immigrant controversies in the U.S., but then it monotonously slides into a disappointing hodgepodge of ideas ripped off from other movies. “Witch Hunt” had its world premiere at the 2021 South by Southwest (SXSW) Film Festival.

The performances in “Witch Hunt” are far better than the movie’s plot, which tries to be edgy with social commentary and feminist sensibilities. But “Witch Hunt” ultimately becomes a watered-down “cat and mouse” game with baffling inconsistencies, weak horror tropes and characters making nonsensical decisions. And a character in “Witch Hunt” obnoxiously reveals (without spoiler alerts) the ending of the Oscar-winning 1991 classic thriller “Thelma & Louise,” which has a surprise ending that shouldn’t be revealed to viewers who don’t know how “Thelma & Louise” ends and who haven’t asked for this spoiler information.

Written and directed by Elle Callahan, “Witch Hunt” opens with a red-haired woman in a hangman’s noose who’s being burned at the stake in front of a courthouse somewhere on the East Coast in the United States. A small crowd has gathered to watch this horrific spectacle. A man dressed in a government uniform lights the fire.

In the crowd, the woman’s daughter (who’s about 12 or 13 years old and also a redhead) cries out, “Mom!” Meanwhile, before the woman perishes in the fire, she calls out several times, “Christ!” The visual effects in this scene are somewhat cheesy, but it could be more easily forgiven if too many other scenes weren’t such a letdown.

It’s later revealed in the story that the woman who was burned at the stake was convicted of practicing witchcraft, which is a crime punishable by death in the United States. The Bureau of Witchcraft Investigations (BWI) is in charge of finding and arresting witches. Only women and girls in this story are targeted for being witches. And almost all the witches happen to have red hair. It’s a pretty big plot hole, because if most of the witches in this story have red hair, then that would make it easier for the authorities to find them.

After this scene of a witch burning at the stake, the movie then cuts to three months later in the fictional Southern California city of Thirteen Palms. (“Witch Hunt” was actually filmed in Los Angeles.) Some mean girls are harassing a student in a high-school classroom during a U.S. history class. Two of the girls throw a wadded-up note at a redhead girl named Abby (played by Sydney Wilder). When she opens the note, she sees the words “Witch Bitch” surrounded in flames. Why the animosity toward Abby?

The “mean girls” clique consists of group leader Jen (played by Lulu Antariksa), who is stuck-up and vindictive; Kelly (played by Bella Shepard), who is spoiled and conceited; and Sofie (played by Anna Grace Barlow), who is shallow and somewhat empty-headed. It turns out that Abby has caught the eye of Jen’s ex-boyfriend Paul, who broke up with Jen three months earlier. When Jen sees Paul and Abby flirting in the school hallway, Jen tells cattily tells the other mean girls that Abby is a “slut” and practically snarls, “What does he see in her?”

Another teenager who hangs out with this snooty clique but who doesn’t bully other people is Claire Goode (played by Gideon Adlon), who is a free thinker and isn’t afraid to question out loud some of the government’s policies for witches. One of the policies that’s on an upcoming voter ballot is Proposition 6. A “yes” vote for Proposition 6 is in favor of allowing the California government to deport the children of convicted witches to Mexico, where witches are legal and are given asylum. The proposition came about because many people believe that being a witch is a biologically inherited trait, not just practicing a set of beliefs.

In the United States in this movie, there’s literally a witch hunt going on and deep-seated hatred against witches. During a school break, Claire, Jen, Kelly and Sofie watch a viral news video of a witch being caught by a mob at the U.S./Mexico border. “Witch Hunt” doesn’t get too graphic with its violence (this movie is clearly aiming for an audience that includes a lot of underage teenagers), but based on what’s shown, it’s implied that the witch was probably tortured and possibly killed by the mob.

Claire seems to be conflicted about how witches are being treated in this society. On the one hand, Claire believes that witches are criminals. On the other hand, she doesn’t believe that they should be tortured and killed just because they’re witches. Based on what Claire tells her friends and her mother, she thinks that witches should be locked up or deported.

There’s a reason why Claire has mixed feelings about witches. Her widowed mother Martha (played by Elizabeth Mitchell) has been hiding witches in a secret section of their home. The witches are smuggled in large wooden crate boxes by people in an underground network that are pretending to deliver office-sized bottled water dispensers in the boxes. Claire tells her mother to stop helping witches because it’s illegal and dangerous, but Martha ignores this request.

Martha handles the intake of the smuggled witches, but Claire knows everything that’s going on and is worried that they will get caught. Martha’s ally in the underground network is a man named Jacob Gordon (played by Treva Etienne), who transports the crate boxes to and from the Goode family home. He also takes empty water dispensers from the home, to make it look like he’s collecting bottles for recycling.

Claire has identical twin brothers named Corey (played by Cameron Crovetti) and George (played by Nicholas Crovetti), who are about 8 or 9 years old. They are examples of the many underdeveloped and ultimately useless characters in the movie. The twins add almost nothing to the plot. And the “mean girls” clique also ends up not being a very important plot device for the movie.

During the course of the movie, three witches are shown as those who’ve been smuggled into the Goode family home. The first witch is Gina (played by Ashley Bell), who appears to be in her 30s. Gina speaks in a strange language and has a palm-sized blue butterfly as some kind of magical creature. It’s implied throughout the story that Claire is irritated that these smuggled witches are taking up space in the home, as well as taking up her mother’s time and energy. Gina is eventually smuggled out of the home, and her fate is shown in the movie.

After Gina leaves, two other witches are smuggled into the home: Fiona (played by Abigail Cowen) is about 17 or 18 years old and her sister Shae (played by Echo Campbell), who’s about 12 or 13 years old. Fiona and Shae are hiding because they are orphans whose mother was executed for being a witch. It should come as no surprise to viewers (and it’s not spoiler information) that Fiona and Shae’s mother was the same woman who was shown burned at the stake at the beginning of the movie.

Fiona and Shae would be directly affected by Proposition 6, which looks like it’s going to get voted into law, since the majority of the population hates witches. Claire ends up becoming friendly with Fiona, but Claire is a little creeped out by Shae. One night, Claire wakes up in the middle of the night and is startled to find Shae staring at her, as if Shae is in a trance. Fiona makes an apology on behalf of Shae and explains that Shae is a sleepwalker.

Claire’s quick friendship with Fiona isn’t adequately explained, since the movie makes a big deal of showing how Claire is prejudiced against witches, and it’s the main reason why there’s friction between Claire and her mother Martha. One minute, Claire is calling witches “criminals.” The next minute, Claire is hanging out with Fiona as if they’ve been best friends forever. It’s quite an abrupt about-face that doesn’t ring true.

Of course, a movie like this has a chief villain who is fanatical in his intent to hunt down witches. His name is Detective Hawthorne (played by Christian Carmago), who’s from the BWI. He doesn’t hesitate to commit police brutality to get what he wants.

Detective Hawthorne uses some kind of magical thermal pocketwatch to detect a witch’s presence. If the watch detects low air pressure, then that means a witch was recently there or recently did witchcraft there. It’s not a very clever detective tool for this story, because witches could be smart enough to cover their tracks by manipulating the air pressure.

Unfortunately, Detective Hawthorne is written as a very one-dimensional, predictable character. There’s no suspense or backstory for him. And so, viewers just get Detective Hawthorne being a very hollow antagonist right through the inevitable showdown toward the end of the film.

“Witch Hunt” attempts to draw parallels between bigotry toward witches and real-life bigotry toward undocumented immigrants who pass through the U.S./Mexico border. The hatred of witches is shown in ways that are overtly violent. For example, Claire and other students are out in the schoolyard when they witness a witch getting shot for trying to escape from a Border Patrol detention bus that was passing by the school.

The witch hatred is so out-of-control, attempted murder is allowed to test if people are witches. There’s a scene where BWI officials are at Claire’s high school to try to kill female students who are suspected witches. They strap the girls to wheelchairs, throw them in the school swimming pool, and see if any of them can escape from the wheelchairs during a certain period of time. If any of them can escape, that’s “proof” she’s a witch.

If any of them can’t escape and might die by drowning before the wheelchairs are pulled out of the water, the attitude is, “Oh well, too bad if someone dies.” It’s another terrible plot hole, because it doesn’t take into account that parents of innocent children would be outraged by this type of violence inflicted on their children at school. And not to mention that a school would be sued for these barbaric tactics.

The bigotry against witches and suspected witches also comes out in hate-filled conversations from seemingly “pleasant” neighbors. A nosy neighbor named Cynthia (played by Deborah May) comes over to the Goode home and tells Martha that she heard that someone in their neighborhood was caught smuggling witches over the border. Martha pretends to agree with the bigotry of Cynthia, who says about the witches: “I don’t understand why the Mexicans are giving them asylum. They’re not refugees! They’re criminals!”

But for every scene that adds a touch of realism, there are two or three scenes that are dull or illogical. For example, in one scene, Kelly from the “mean girls” clique is shown trying to buy a ticket at a movie theater, but she’s barred from entry because the employee at the box office tells Kelly that her name is on a list of suspected witches. Claire sits on a bench nearby and watches as Kelly angrily denies that she’s a witch.

First of all, considering all the murderous violence against witches in this witch hunt, it’s kind of bizarre that there’s an entire scene showing that this society punishes suspected witches by not letting them go to the movies. If you think about it, witches who are persecuted in life-or-death situations are supposed to have bigger problems than not being able to go see a movie. And it doesn’t make sense that the government would go to all that trouble to ban witches from movie theaters, when there are other types of banishment that are much worse that could’ve been shown in this movie.

The scene is also illogical because even if movie theaters had a list of names of suspected witches, it doesn’t explain how people could get around that blacklist by paying cash or by using someone else’s bank card to buy tickets. Does that mean that people in this society have to show a photo ID every time they go to the movies and there’s a master list of blacklisted people that all movie theaters have? It’s never fully explained and it’s just a poorly conceived scene overall.

And in another illogical scene, Claire and Fiona sneak out and go to a bar that serves alcohol, even though there’s no explanation in the movie for why these obviously underage girls were allowed in the bar. And why would Fiona agree to this if she’s supposed to be in hiding? In this bar scene, Claire is surprised to discover that Fiona has never seen the movie “Thelma & Louise,” starring Geena Davis and Susan Sarandon as two best friends who go on the run from the law after one of them kills a man who attempted to rape the other friend.

This is the scene in “Witch Hunt” where Claire blabs the whole plot of “Thelma & Louise,” including the surprise ending. (Viewers of “Witch Hunt” will find out later why Claire gave away all this spoiler information.) But what’s really ridiculous about this scene is that Fiona decides to do some attention-grabbing magic tricks in the bar, such as levitating liquid in a glass. Why go to a bar to do these tricks when they could’ve done all of that in a private location?

And then, the witchcraft is taken up several notches. Fiona suspends time and gets several bar stools to levitate up to the ceiling. Fiona then allows the bar stools to suddenly drop, just as she lets time to start again, while the bar patrons react in shock as they see the chairs fall from the ceiling to the ground. (These tricks are shown in the “Witch Hunt” trailer.) Claire and Fiona quickly run out of the bar, as if they just played a prank.

Of course, as gimmicky as these witch tricks are in the movie, it actually makes no sense for a witch who’s supposed to be in hiding to pull these kinds of stunts in front of people in a public place. Fiona might be a stranger to people in the bar, but Claire is more recognizable in the community. It doesn’t take long for word to spread that Claire is hanging out with a witch. And you know what that means when Detective Hawthorne finds out.

“Witch Hunt” has some scenes that are supposed to be spooky but just come across as a little bit amateurish, considering all the high-quality scares that are in plenty of other horror movies. Coincidence or not, Adlon was also in 2020’s “The Craft: Legacy,” another not-very-scary witch movie that had problems with its screenplay and direction. As the main character in “Witch Hunt,” Adlon’s acting is perfectly adequate, but Claire’s personality isn’t very memorable.

There are long stretches of “Witch Hunt” that are boring, while the last 15 minutes are rushed to cram in the climactic showdown and a last-minute explanation for something that was obvious throughout the film. And one of the worst things about “Witch Hunt” is when Martha makes a decision toward the end that’s completely contradictory to her purpose in the movie. Children might enjoy this movie more than adults who want a compelling and believable story. Ultimately, “Witch Hunt” panders to people who don’t have enough life experience to notice the big plot holes in the film.

UPDATE: Momentum Pictures will release “Witch Hunt” in select U.S. cinemas, on digital and VOD on October 1, 2021.