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    Movie Review

    Saints become sinners in mediocre Honk for Jesus. Save Your Soul.

    Alex Bentley
    Sep 1, 2022 | 11:58 am
    Sterling K. Brown in Honk for Jesus. Save Your Soul.play icon
    Sterling K. Brown in Honk for Jesus. Save Your Soul.
    Photo by Steve Swisher/courtesy of Pinky Promise LLC

    Those who consider themselves religious wouldn’t be entirely wrong if they complained that it’s difficult to find positive portrayals of religion in mainstream movies. High-profile films like The Da Vinci Code, Doubt, Spotlight, and the recent The Eyes of Tammy Faye have each featured stories where those professing to spread the word of God were the ones who were the biggest sinners.

    The latest film in that vein is Honk for Jesus. Save Your Soul., which centers on Paster Lee-Curtis Childs (Sterling K. Brown) and his wife Trinitie (Regina Hall), who are the leaders at Wander to Greater Paths Baptist Church. Make that, were the leaders, as they’ve lost their entire mega-church congregation of 25,000 people after Lee-Curtis is implicated in a scandal that’s gradually revealed over the course of the film.

    Lee-Curtis and Trinitie have hired a documentary crew to try to rehabilitate their image and hopefully witness their rise back to power. What they capture instead is the rampant greed and narcissism of Lee-Child, who never met an expensive item he didn’t covet, and the crisis of faith of Trinitie, who finds it increasingly difficult to stand by her husband given his sins and his unbending expectations of her.

    Written and directed by Adamma Ebo, the film is a satire of both mega-church leaders who flaunt their wealth and of a specific sect of Christianity. The film is labeled as a comedy, and while there are occasional funny flourishes, the story is actually very serious for much of its running time. The transgression of which Lee-Child is accused and the obviously strained relationship between him and Trinitie makes for some somber viewing, no matter how goofy or over-the-top the two of them act.

    Unfortunately, the mockumentary aspect of the film never gels. The crew making the film is set up as a “fly on the wall” group, meaning we never hear them or see them. This makes for some supremely awkward scenes as Lee-Curtis and Trinitie fumble around, mugging for the camera without any direction. While this might solidify their character traits, it doesn’t make for interesting viewing. It also leads to confusion as Ebo moves back-and-forth between documentary scenes and “real” scenes, with the line between the two becoming very blurry.

    Ebo attempts to bring some additional levity to the film with the characters of Keon and Shakura Sumpter (Conphidance and Nicole Beharie), two pastors who lead a growing church that has siphoned off many of the Childs’ former congregants. The juxtaposition between the two couples is clear, and making the film more about the two churches’ rivalry might have made for a more successful story than the one Ebo chose.

    Whatever the film’s story faults may be, you can’t lay that at the feet of Brown or Hall, as each is highly committed to their role. Hall is a more natural comedic performer and so those parts of the film fit her better, but Brown is completely believable as the pompous and oftentimes clueless Lee-Child. Conphidance and Beharie are not as well-known, but they each deserve bigger roles after scoring with their performances here.

    Notable as the first non-horror release from Jordan Peele’s Monkeypaw Productions, Honk for Jesus. Save Your Soul. never seems to make much of a point. The main characters barely evolve over the course of the film, leaving the audience waiting for a resolution that never happens.

    ---

    Honk for Jesus. Save Your Soul. opens in theaters and debuts on Peacock on September 2. To find out how to get $3 movie tickets on National Cinema Day, September 3, go here.

    Regina Hall in Honk for Jesus. Save Your Soul.

    Regina Hall in Honk for Jesus. Save Your Soul.
    Photo by Steve Swisher/courtesy of Pinky Promise LLC
    Regina Hall in Honk for Jesus. Save Your Soul.
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    Movie Review

    Avatar: Fire and Ash returns to Pandora with big action and bold visuals

    Alex Bentley
    Dec 18, 2025 | 5:00 pm
    Oona Chaplin in Avatar: Fire and Ash
    Photo courtesy of 20th Century Studios
    Oona Chaplin in Avatar: Fire and Ash.

    For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.

    The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).

    Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.

    Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred viewing method of 3D makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.

    The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.

    Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.

    A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.

    There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.

    ---

    Avatar: Fire and Ash opens in theaters on December 19.

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