Outlaw Prophet is dead brilliant. This low budget journey into the center of David Heavener’s evangelistic mind is as flabbergastingly inventive and bizarre as the universes created by other obtuse auteurs like David Lynch and Jean-Pierre Jeunet. Like a cinematic carpet sweeper, Heavener casts his narrative net to the four winds and sweeps every last potential plot point and storyline strand out of Haroun’s sea of stories. In one film we have all of the fictional sci-fi melodramatic filaments: aliens, space, computers, radio waves, telepathy, shape shifting, brainwashing, device implantation, foster children, abandonment, trailer trashing, pre-school runaways, grilling, picking, grinning, sinning, salvation, ham radio, strange frequencies, reality television, ratings, Van Dykes, morphing, mutations, zombies, kung fu, car wrecks, The Bible, the Antichrist, the new Messiah, death, rebirth, angels, demons, disco, adoption and bad children’s programming. Yet somehow, Outlaw Prophet makes all of these divergent elements coalesce into a fine mist of monumental moviemaking. NO, really.
It takes a rare and refined talent to get this all to work, and yet Heavener finds a way to make his cockeyed Christian vision, as well as his rock and roll musicianship and personal faith, serve the final cut. What he manages is a kind of innocent idiot savant con job, an entertainment flim flam where, instead of grade Z direct to video VHS filler, you receive a strangely evocative substitute for typical street preaching channeled through an outrageously original independent movie mentality. This director dives into the same pool of sermonizing - one spicing up the brimstone with all manner of special effects and action figure permutations - that other deity die-hards indulge in. The result is an addled allegory about the second coming of Christ carved out of a reality show spoof, a smattering of Turkish Star Wars, and a whole lot of crappy hair metal. Toss in the Devil as an evil TV producer (there’s a stretch) and a trip to a zealot BBQ and you’ve got the kind of cinematic Stilton that satisfies as much as it stinks.
// Moving Pixels
"It's easy to dismiss blood and violence as salacious without considering why it is there, what its context is, and what it might communicate.READ the article