Witness Gospel Movie Reviews

“INTERCEPT” REVIEW

I would like to begin this review with a quick critique I did for its first instalment, “In The Gap” (2023):

For the love of Christ and movies, ‘In The Gap’ is a proof that audiences will follow a good story to the ends of the earth.
In less than a minute into the movie, I was certain the filmmakers knew their onions. This snap review can’t do ‘In The Gap’ justice; it does excel by not falling into that error of sacrificing ‘story’ on the altar of ‘sermon’.
If more Nigerian Christian films adopt this approach going forward, our productions will become motion pictures that would get the world’s attention.
Witness Reviews (October 3, 2023)

Needless to say then that I earnestly anticipated this sequel and after seeing it, my testimony hasn’t changed. The first couple of scenes in “Intercept” are mighty impressive: it adopts a nuanced approach to recapping its past events, and includes new ones seamlessly. The sequence comprising Joshua’s narration, accompanied by stunning visuals and an immersive background tune, was surreal. It creatively depicted the spiritual realm using modern technological interpretations – a powerful presentation that would stay with me for a long time.

I love this “In The Gap” franchise so much because it feels like the most organic title I’ve ever come across. There’s no way you’d talk about the film and not mention that phrase. Despite that, this sequel adopts a different take on the title – Intercept – which still refers to what intercessors do to the schemes of the kingdom of darkness. “Intercept” is a sequel in the real sense of the word, in a time when numeric additions to titles have meant many different things.

Commendably, the movie begins with a tribute to Late Oluwaseyi Bababusola, who played Chioma in the original movie and is reborn here as Scarlet. She is given more material in “Intercept” and delivers with panache. Her rebirth is summarized ingeniously in a montage that took me in. Everything about it is an epitome of the movie’s production value – movements captured by high-end cinematography, and edited to an apt, catchy song. It would have been nice though if it had come earlier and put side-by-side Joshua’s resurrection to create some parallelism in the story.

I would be forgiven for thinking that ace cinematographer Kunle Adepoju who shot “In the Gap” handled this second part as well; I was wrong. Both the shooting and editing were helmed by Iyanuoluwa Adebayo; they were jobs creatively and excellently executed. The background music done by Israel Ore-Bamidele was quite remarkable as well; however, I hope the songs will be properly credited in subsequent productions. All actors delivered performances to effectively portray the core of the movie – the importance of intercession.

Everything about this film speaks its message, and I’m not talking about mere words. The story, the (sub)plots, scenarios…everything! The situation of Joshua and Sandra, Toba and Adaeze, the intercessory group in the school, and the news reports of happenings in the nation all highlight the need for watchmen. Truly, a whole lot goes on in “Intercept” and that slows its momentum a bit from the half-hour mark. Furthermore, this direction would normally feel overstated, but it doesn’t because it is so well written. We see the message and not only hear it.

Most importantly though, we need to live it. The prospect for the intercessory ministry is enormous, in terms of what it can do for us and our nation according to God’s will. I’m particular about what God will do in Nigeria, for I have been told of a prophecy given by Pa Elton in 1986: “Nigerian and Nigerians will be known for corruption worldwide but the tide will turn and Nigeria will also be known for righteousness worldwide. Many shall take hold of him that is a Nigerian, saying, we will go with you, for we have heard that God is with you.”

I believe that people are needed to stand in the gap for Nigeria, people that according to Isaiah 62: 6 – 7, “call on the Lord” and are urged to “give yourselves no rest, and give Him no rest till He establishes Jerusalem (Nigeria) and makes her the praise of the earth”. Hence the question: “Will you stand in the gap so that God’s will shall be done?”

The link to the movie is https://youtu.be/Ie4kuK_hJ6g?si=XiQnIRBikLGdsQVN

Till the next review, stay blessed!

Film Credits

INTERCEPT
(October 20, 2024)
124 minutes
GRATEFUL MEDIA

Cast
Philip Oyeleye as Joshua
Timmy Adebola as Toba
Oluwaseyi Bababusola as Scarlet
Ogooluwa Deborah as Adaeze
Sam Aliu as Mr Edward (Intercessory leader)
Martha Oguama as Sandra
Vincent Ukueku as Pastor Bolaji
Funmilayo Adegoke as Mrs Adeleke

Crew
Director
Kayode Babalola
Screenwriter
Soma Obainom
Cinematographer
Iyanuoluwa Adebayo
Editor
Iyanuoluwa Adebayo
Sound designer
Israel Ore-Bamidele

“BEHIND THE SCENE” REVIEW

As found in the end note of “Behind the Scene”, Isaiah 45:15 – 17 (MSG) describes God as the one “who works behind the scenes”. It is an assertion that helps our faith and trust in the Lord, a thought that every true believer needs to have as they navigate the oceans of life. This is the movie’s core message (though the title should most likely and actually be “Behind the Scenes”).

This production is a direction of Adeniyi Famewo, and a forte of his is cinematography, which is evident in this movie through the moving shots, as well as the varied establishments shots – especially in a time when aerial views have been overused and have dulled creativity. Having fans on during shooting usually poses problems for sound recording, but the crew for “Behind the Scene” were able to pull it off successfully. The film tells the story of Clara who is faced with the challenge of childlessness and has to find her way through the mental, emotional and moral struggles that may accompany it.

“Behind the Scene” has some nice scores, although they are sadly not credited. In a similar vein though, there is room for finesse in the music, especially when it’s also trying to preach the title or message beneath actual dialogue.

The acting was quite credible too, as Abayomi Ojo and Ife Oyedunmade had an onscreen synergy as a couple. I find the scene where they both were playing a TV game heartwarming, as it highlighted Clara’s love and sense of possession of Segun.

There are a few grey areas in “Behind the Scene” though, particularly with the ordering and length of its scenes. The whole sequence about her journey to Abuja for a conference, meeting up with an old flame, giving in to lust and Segun having a child outside wedlock has got me wondering whether they were dreams, imaginations or reality. Furthermore, many of the short scenes such as Clara’s anger at Segun after seemingly having been comforted by him are mostly inconsequential, and therefore unnecessary. Each scene must be playing a particular role in plot advancement, character development or setting up stakes.

At the end of the day, God comes through for Clara in a most unusual way. However, the appearance of Mr Rufus, and his solution-bringing story-within-story, in the third act and not before, seemed a bit off to me. After all the buildup in Act 1 and 2, to start reinvesting in Joyce’s life felt somewhat abrupt. Nonetheless, I must confess that seeing her worship God after all she’d been through was deeply moving. Cohesiveness in story plotting should be given priority so that gospel movies come out in the best way possible.

The link to the movie is https://www.youtube.com/watch?v=PNopnnPgTC0

Till the next review, stay blessed!

Film Credits

BEHIND THE SCENE

(September 15, 2024)

75 minutes

WATEM

Cast

Ife Oyedunmade as Clara

Abayomi Ojo as Segun

Idowu Oluwaferanmi as Mama

Eunice Adepoju as Tomi

Samuel Olupelumi as Rufus

Crew

Director

Adeniyi Famewo

Writer

Samuel Olupelumi

Screenwriter

Adeniyi Famewo

Cinematographers

Opeyemi Ayinla and Olatunde Raheem

Editors

Opeyemi Ayinla and Idowu Ayinde

“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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“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