Witness Gospel Movie Reviews

“TAINTED HEARTS” REVIEW

“Tainted Hearts” is an impactful movie addressing a very pertinent matter in marriage. It is therefore enlightening, instructive and restorative in its content and presentation. The film captures the story of Jeffery and Isioma, a couple who are not communicating well enough to agree on vital elements of their union, which leads to a degeneration neither of them anticipated.

For the first time ever, I opine that a lengthy feature movie like this might be better split into parts, like a limited series. This is because “Tainted Hearts” has the feel of an episodical, with its slow pacing, multiple repetitive establishment shots, and its loopy background tune, especially in the first couple of scenes. In any case, I believe the plot should have been made tighter, with many scenes either removed or merged to make them more relevant.

The leads play their roles convincingly – Jeffery as a frustrated husband that tries to please his wife, and Isioma as the strong-willed, desperate wife that wants her husband to be the same. The importance of prayer and the truth is highlighted in this film because, though Jeffery swears never to be like his father, he actually becomes worse. I’ve heard from the TIMFA Christian University training that in marriage, communication is where it starts, money is where it continues and sex is where it ends. If Jeffery had communicated the pressure he was under at work, and Isi had consulted with her husband before adopting the medical routine for conception, they might have been able to reach a compromise that worked for both parties and would keep them walking in unity.

I consider it a trope in Nigerian Christian movies and it’s scary to think that it is a reflection of real life, that some believers have as their closest friends, as counselors, individuals that do not revere God. Actually, to me, Jeffery is at best, indifferent to God, though not opposed to Him. Therefore, I was surprised when he said he was a believer. 2 Corinthians 6:14 – 16 asks in five different ways why a believer would have that kind of relationship with an unbeliever. Nonetheless, it was good to see Jeffery at the end of the day setting things right with Damian.

Other things to note include a bit of the cinematography that felt off, with a few close ups awkwardly close, and the need for editors to adopt eliminating unnecessarily repetitive dialogue. Furthermore, I feel the vital Lizzy character should have been physically introduced earlier, rather than being an abstraction for the movie’s first hour. Likewise, I found it difficult to connect what initially looked like her shallow discernment of suitors to her later insight to the root of her brother’s marital problems.

Remarkably, “Tainted Hearts” brings to our screens one of the marital issues that we would barely get to know elsewhere. I commend the ingenuity of the producers and pray that this movie will bring healing to concerned marriages.

The link to the movie is https://youtu.be/mdMKlAXs9jo?si=pSouu-CqcyCX4Srj

Till the next review, stay blessed!🙏

Film Credits

TAINTED HEARTS

(August 1, 2024)

146 minutes

Deep Thoughts Films Production

Cast

Joshua Banjo as Jeffery

Chidinma Julius-Agoh as Isioma

Opeyemi Akintunde as Lizzy

Oluwabukola Hephzibah as Miss Jayeola

Emmanuel Oluwapelumi as Femi

Badmus Adewale David as Damian

Bosede Ojerinde as Mama

Crew

Director

Opeyemi Akintunde

Screenwriters

Opeyemi Akintunde and Bisola Akintomide

Cinematographer

Kuye Daniel

Editors

Oluwaseun Ogunjobi and Whitestone Loknan Daniel

“MERCY’S GRIEF” REVIEW

The concept that drives the message of Mercy’s Grief is brilliantly vivid and I always appreciate productions that do the unusual. I believe in the power of the cinema – being seated before a screen where motion pictures tell a story that have the ability to touch spirit, soul and body within a given time. The “Life’s Broadcast” session in this film was an illuminating experience for me because I saw the extent to which our decisions, whether we take responsibility for them or not, go in determining our destinations in life. And at the end of the day, each person, not the ones we blame, will give account of their lives before God.

The coulda-woulda-shoulda scenario portrayed in the film is applicable to the film as well. I have no doubt about the movie Mercy’s Grief would have been with better plotting, sound design, and actor performances. The motion picture does not make judicious use of the substantial time devoted to the protagonist’s childhood. Mercy’s parents victimise their daughter, but no context or reason is given for this. It therefore doesn’t mean very much when they make a U-turn. Mercy goes through hell as a child, but we don’t see HOW that translates into the woman she becomes. Grown up, we don’t know enough about her – does she start trusting in God at a time; does she have other abortions; how does she get mixed up with the wrong crowd; at what point does she discover the complications in her health? I’m definitely not saying the movie should be longer to answer these questions; only that relevant details be included and impertinent ones removed. Simply put, the main characters lack depth.

Music plays such an important role in how a movie will be enjoyed. The mood of each scene should be studied and only the right kind of music should be used accordingly. Even having no background tune can be the best choice for certain scenes. Closely related is how the delivery of lines influences the audience. I suspect some dialogues were supposed to have comic effect in Mercy’s Grief, but they didn’t quite land because of their (phrased) delivery and the lack of snappy editing.

Back to the plotting, I have on a couple of occasions heard from a renowned drama minister that he would never again leave his message to the last scene. And I sort of see why this is necessary through this movie. Mercy’s Grief has a profound core but takes us through so much (unnecessary) rubble before we get there; not every viewer is that patient. Therefore, there must be spices on the journey to keep the audience hooked till the end, among which I think would have been exploring that Mathematics competition. Other areas in need of improvement include the sound effects, visual effects, and subtitles.

Conclusively, Mercy’s Grief features cute cinematography and a lesson for parents to nurture and be encouraging to their children. There is also a picture of hope that Jesus sees us where we are; He’s capable of turning our mess into a message, our test into a testimony, our trial into a triumph and a victim like Mercy into a victor.

The link to the movie is https://youtu.be/sgoO-TLWrwA?si=aTf-130rtjG8YuUD

Till the next review, stay blessed!

Film Credits

MERCY’S GRIEF
(August 16, 2024)
91 minutes
GACEM Films

Cast
Tomisin Esan as Mercy (Adult)
Bukola Dare as Mercy (Teenage)
Elkanah Dotun as Mr Edward
‘NIDO Bisola Ajo as Mrs Edward
Aanuniyi Famewo as Aunty Bisi
Tobi Awodele as Dennis (Teenage)

Crew
Director
Adeniyi Famewo
Story
David Ogunmilade
Screenwriter
Adeniyi Famewo
Cinematographers
Olatunde Raheem and Opeyemi Ayinla
Editor
araWONDER

MCIAIF ICFF BEGINS!

The Mount Zion Institute Alumni International Fellowship 4th International Christian Film Festival commences in a few minutes.

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MZIAIF ICFF : ONE DAY TO GO

🎬✨ Only 1 Day to Go!✨

Get ready for the 4th MZIAIF International Christian Film Festival 2024 happening from October 15th – 19th! Five days of uplifting films, transformative workshops, and global discussions on faith and storytelling.🎥🌍

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See you at the MZIAIF International Christian Film Festival 2024! 🌟
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Scan the QR code to start navigating all the exciting events we’ve got lined up for you! 🚀 #MZIAIFICFF2024 #Navigator #FilmFestival
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“AMIDST AFFLICTION” REVIEW

Amidst Affliction is the latest episode, if you will, in the Officer Collins series – stories centred on a police officer with high moral standards. I always appreciate that he is not portrayed as infallible; rather, he goes through challenges similar to what every one of us faces, and is able to come through taking the high road each time. In this particular part, he encounters unforeseen circumstances as the balance of his life is threatened when his son comes down with a damning sickness.

The sincerity of Officer Collins is on display here as he tries every legal means possible to get the huge sum needed for his son’s treatment. One does feel pity for him and we can only wish him well as he goes through this tough time. He experiences disappointments in quarters where he had found and ought to find help and support respectively. Pushed to the wall then, he is left with what seems to be the only way out, just that it is not the path that would please his Master. What would he do? Watch Amidst Affliction and see for yourself a story that is very relatable, especially in our present national condition.

I have a couple of observations that I believe if worked on, would increase the production value of subsequent releases. Generally speaking, it is important for directors and producers to carefully go through final edits before the movie is put on the airwaves, when corrections may no longer be possible. I speak firstly with regard to the misspelling of the title in the opening credits. In a similar vein, it is important to note that subtitles do have a correctional angle they provide to spoken dialogue. However, this should be done as obscurely as possible. Subtitles should therefore not provide synonyms to words spoken where those words are actually correct. Furthermore, subtitles themselves then end up wrong in an attempt to rectify already-correct dialogue.

Also, there are few scenes I consider inconsequential and therefore, unnecessary. The game between Kemi and her son, the meeting between the DPO, Officer Collins and Sergeant Ojo, and Officer Collins thinking to himself were needless scenes and highlights the need for plots to be better sewn together to make a seamless whole.

As blessed as I was by Amidst Affliction, it has raised numerous questions in my mind. The “affliction” was actually a test, orchestrated by man, to the ‘benefit’ of the protagonist. While this scenario is credible, the fact is that it was built on lies – not surprising where unbelievers are involved: if the moral standing of the Minister, DPO, Doctor and Wale are uncertain, how about Collins’ wife, son and pastor? Because they were involved in the ploy, they all had to lie or deceive Collins for the plan to work. In essence, their prayers for healing and thanksgiving for help might be considered fake. How about all the negative utterances they had to make concerning Olaoluwa’s health? The devil could have capitalised on them and brought them to reality. What upset me the most is Kemi, his wife, pushing Collins further down the plank of desperation. Olorun ma je ka ridamu (May we not run into predicaments).

As the curtains closed on Amidst Affliction, it dawned on me that the actual message being passed was the same, only better conveyed, in The Accountant – a movie where the protagonist was tested like this at his place of work, while also needing to attend to domestic conflict. He was indeed afflicted and tempted to do evil because of circumstances he had little or no control over; yet, he came through at the end of the day and received an unprecedented promotion. Hence, filmmakers are encouraged to carefully examine their story concepts before scripting, so that the audience doesn’t end up with more questions than answers after viewing. Lastly in this vein, the choice of an uninspiring tune at the end made Amidst Affliction feel kind of anticlimactic, rather than soul lifting for me.

Conclusively, there are a number of things that stand out for me in Amidst Affliction. Toluwanimi Ibitoye’s Officer Momoh was a comical touch in the early minutes, while the movie is also quite enlightening. Is the police force really not on the approved list of personal bank loans? I wish we were told why, but I think someone needs to look into that policy. Impressively, there was a twist at the end, and it goes to show how, many times, the darkest part of the night is the closest time to the breaking of dawn. Therefore, we are encouraged to hold on to our faith and never give up, for our breakthrough is just around the corner.

The link to the movie is https://youtu.be/ln3myUUjif0?si=fkxrd3MtmHkPp83q

Till the next review, stay blessed!

Film Credits
AMIDST AFFLICTION
(August 16, 2024)
45 minutes
Hope in Christ Film Productions and Ogongo TV

Cast
Adeoye Omoniyi as Officer Collins
Kehinde Akinyombo as Kemi
Richard Omidiwura as Minister of Justice
Isaac Femi-Akintunde as DPO
Gbenga Ayoola as Wale
Tolu Israel Adegbo as Doctor

Crew
Director
Adeoye Omoniyi
Writer
–
Cinematographer
Awoleye Oluwaseyifunmi Gabriel
Editors
Emmanuel Oyolola (Emmy Visual) and Awoleye Oluwaseyifunmi Gabriel

“OLASUPO” REVIEW

Olasupo marks the third entry in the Biopic genre engaged by drama ministers from the turn of this decade. It has great predecessors in The Train (2020) and Enoch (2023), thus giving it tough acts to follow. Nonetheless, the movie stays true to the things that make us love this genre – the (un)known stories of our modern-day heroes told in relatable ways, mainly showcasing their humble beginnings and the rough patch they all had before heeding to God’s call.

The 2024 biopic has a lengthy runtime as it tries to bring the audience up to speed with the life of its protagonist. And therein usually lies a major challenge of this genre – knowing just how much of the subject’s story to include in the motion picture. So far, The Train and Enoch leave early, focusing on the background of its subjects, with the assumption that the audience knows or can find out much of the rest online. Olasupo on the other hand feels the need to say so much more, which is probably why its ending wasn’t satisfying for me, bringing down the curtain at a point when a board of ministers was divisive on the choice of Supo as the president of the Nigerian Baptist Convention.

Another offshoot of this is the (late) casting of an older Supo and Toyin, which rather disrupted the flow garnered by what I consider the best part of the story – the relationship between Supo and Toyin as portrayed by Omooba Oluwasegun and Aanu Kolade-Abiodun. Their onscreen synergy was beautiful to watch as they both brought their A-games to their roles. I consider myself privileged to always watch Aanu Kolade-Abiodun who by God’s grace, has never put a foot wrong, no matter the role she’s given. She and her co-star accurately nailed the teaser scene for Olasupo, in spite of the numbing sound design that could have nullified their efforts.

It is always a blessing to be able to see the background of prominent personalities whom many people look up to. Supo’s story is another testament to the fact that nobody yields to God’s call over their lives and ends up on the losing side. And it is never really an easy decision, because on many occasions, the subject is already on a path that is physically successful. However, it is clear that God knows the good thoughts He has towards us, and only when we trust Him and cooperate with Him will He be able to bring them into fruition.

While there are quite a number of things I know would have made Olasupo a more befitting biopic, one that really hit me on a personal level is the subtitling. Putting it as mildly as possible, this kind of captioning is simply unacceptable at this level. I would urge the filmmakers involved in this project going forward, to pay more attention to better sound design, tighter plotting, unnecessary, and lengthy scenes, repeated estabs, and managed sequences. As it is said in writing, sometimes, less is more.

The link to the movie is https://youtu.be/paoRO2scL_8?si=yUxprEff0qOW__IV

Till the next review, stay blessed!

Film Credits
OLASUPO
(March 30, 2024)
130 minutes
Living Faith Films International and Ayanfe Proclaimers Christian Drama Production

Cast
Omooba Oluwasegun as Supo 2
Aanu Kolade-Abiodun as Toyin 2
Yomi Adewumi as Ayoade
Emmanuel Ajayi as Man in White

Crew
Director
Seun Adejumobi
Screenwriter
Ayo ‘Cineman’ Olaleye
Cinematographers
Korede Olayinka and Raphael Oluwaseyi
Editor
Abiola Babatola Nattytunez

“THE PROSTITUTE” REVIEW

If you ask me, I would say that the story of Hosea and Gomer is arguably the trickiest material in the Bible that a Christian screenwriter could base their script on. The last one I reviewed is In Love with A Prostitute (2021) and this one’s title is just as on the nose. Because of similar pitfalls in both movies, I’m almost challenged to take up writing a screenplay on this as well, determined to avoid banana skins in the Old Testament narrative.

This drama as played out in the Scriptures is an example of what is termed Applied Prophetic Drama, in which the dramatic situation affects the dramatist in a real-life way. The marriage between Hosea and Gomer was used by God as a symbol of His relationship with the people of Israel. Trying to replicate this literally under the New Covenant stands a risk of misleading completely, and as such, only those with adequate Scriptural knowledge would accurately get the message of The Prostitute. I believe that is what necessitated the expository epilogue (shot with ineffective chroma keying). Therefore, this movie should not be seen as an instructive material on how to make the choice of a life partner.

The protagonist, Steve, is engaged in several monologues in the course of the movie which have two sides to them. In the first half of The Prostitute, his thoughts all show that him seeking out a prostitute for marriage wasn’t inspired by God, thus a really bad idea. I believe that is why Steve refers to the “invisible force” pushing him in that odd direction; it would be heretical and counter-productive to the purpose of a Christian film to plainly claim it was God. The Father reaches out to the most ungodly people, but He would not ‘lead’ another into sin to get it done. In the latter stages of the movie, Steve’s thoughts tend to reflect a bit of the patience God has with us even when we fall into sin, so that we can return to Him.

In spite of the sharp bends in the story, I would say that the leads played their roles quite well. Technically speaking, The Prostitute only needed to have been half as long, for a more coherent, linear plot would have nullified the need for the many jumps in time the film had. The subtitles were substandard and I recommend that subsequent film projects would do better with a good production designer on board, to impact the overall production value.

I think the reason this Bible story keeps being visited is because of its prospect as a Christian love story, and when expertly written for the screen, will finally fulfil that potential.

The link to the movie is https://youtu.be/hOD2bJOR7QQ?si=s5_LljPUlfCKeLAF

Till the next review, stay blessed!

Film Credits

THE PROSTITUTE

(March 14, 2024)

118 minutes

Calvary Drama Ministry

Cast

Praise Ololade Agboola as Steve

Bamike Rebecca Are as Serena

Seun Adejumobi as Bobby

Crew

Director

Moses Korede Are

Writer

Moses Korede Are

Cinematographers

Moses Korede Are 2 and Oluwafemi Olabamiji

Editor

Oluwafemi Olabamiji

“JUST FOR THE STREET” REVIEW

Just for the Street has a nice opening that would settle any audience into a movie. Although this flow is disrupted right after with some choppy editing, the short film has bits and pieces of a cinematic atmosphere to it. The story centres on Taiwo and Kehinde, a set of twins from the same womb, studying the same course, but with different applications of it. The movie portrays, as Jesus said in Matthew 6:24, that you would serve either God or money. It remained to be seen which of these contrasting paths led to the desired destination for each twin.

Just for the Street has a number of musical pieces, which is one of the things that stands out in it. Its story is also befitting for a short film, and I commend the producer for probably resisting the temptation to bloat the runtime in a bid to make it reach the 40-minute feature movie benchmark. Regarding the music, I opine that fair depiction should have been given to both parties. Taiwo’s numbers are delightful and secular, while Kehinde’s are bland, though godly. Purely on a musical level, most audiences may have found themselves rooting for T-Class’ “Joy” and hit single “Confirm”, rather than the short, ordinary renditions of Kehinde.

Because this film has a story to tell, there are a number of issues naturally brought up in it. One is rather saddening – the way that some Christian organisations have treated gospel arts ministers, which has led to the latter being subsequently ‘forced’ to make certain demands before honouring invitations. We should not be doing this to ourselves; we really shouldn’t. Through Kehinde’s life however, we see that as long as we keep our faith in God, our call from the palace will come and we will not miss out on the good things of life in the long run. Taiwo on the other hand, gets both what he desires and what he does not bargain for. More than the music, it also shows the benefits of a godly lifestyle.

This movie shot entirely on a smartphone is a good watch and does well with its quality music production.

The link to the movie is https://youtu.be/uH2QjhgItaw?si=POgGuKoH_7TCjgq3

Till the next review, stay blessed!

Film Credits
JUST FOR THE STREET
(January 8, 2024)
36 minutes
Rising Star Drama Group

Cast
Samuel Obembe as Taiwo
Rachael Tolulope Israel as Kehinde
‘Nido Bisola Ajo as Iya Ibeji

Crew
Director
Faith Babs
Writer
Faith Babs
Cinematographer
Akindele Boluwatife
Editor
Faith Babs

“THE CRUISE” REVIEW

I am a huge fan of the short films written by Damilola Mike-Bamiloye in the 2010s, with A Minute More and A Hundred Thousand my personal favourites. Considering the fact that many brilliant features have since been the order of the day, it came to me as a surprise that The Cruise is a short. It was reminiscent of 2018 releases Killing Death and Late Work, which featured the two talented brothers, Damilola and Joshua Mike-Bamiloye, with Elvon Jarrett and Gloria Bamiloye joining them as parents here. The foursome make up a fictional family where, let’s just say, the children are not each other’s keepers.

Multiple grand sceneries within limited settings are captured to make the movie visually appealing. The images are stunning especially when viewed in high resolution. The first scene, though long, was used to establish the nature of the relationships within the family. That duration was remarkably cushioned through the use of humour.

With a few allusions to the Biblical story of Cain and Abel, The Cruise examines rivalry between siblings, and Luke’s and Nath’s incessant trade of words is an eyesore; how heartbroken parents who experience this must be! These sort of matters are best resolved with the wisdom of God, and actually, just spending time with God first before other people tends to break the ice, which paves the way for the desired restoration.

The link to the movie is https://youtu.be/5zWzUUS7g2Y?si=8JSWHcnQJhjoOPG8

Till the next review, stay blessed!

Film Credits
THE CRUISE
(March 10, 2024)
37 minutes
Mount Zion Film Productions and TKP Drama & Film Ministry

Cast
Elvon Jarrett as Frederick
Gloria Bamiloye as Rose
Damilola Mike-Bamiloye as Luke
Joshua Mike-Bamiloye as Nathaniel

Crew
Director
Mike Bamiloye
Writer
Damilola Mike-Bamiloye
Cinematographers
Damilola Mike-Bamiloye and Joshua Mike-Bamiloye
Editor
Victor Otegbade