It's a proven fact that Kostka and movies that deal with religion don't always mesh so well. With this subject, there can be a tendency to become moralistic or preachy, and it tends to drive me crazy when someone, a director or otherwise, is foolish enough to assert that he has an answer to a question mankind has never been able to reach a consensus on (and, of course, things like that debacle of a climax in Signs don't help, either). Considering this, I guess it should be little surprise that I tend to approach movies dealing with faith with some trepidation. Still, God Has a Rap Sheet left me a little stymied; would it be yet another groan-inducing film that spells everything out for its audience, or one of those rare movies about theology that allow people to draw their own conclusions? I guess since it's from Synapse, the fine company which has given us everything from Triumph of the Will to Bacchanales Sexuelles (review here), I should have known not to worry. God Has a Rap Sheet turns out to be a very entertaining film that is really a lesson in acceptance rather than doctrine.

God's premise is simple: eight people of different ethnic and sociological backgrounds end up jailed for various reasons and are locked in a holding cell together for the night (this means that screengrabs will basically be limited to pictures - sorry). All sorts of groups are represented: there's an Italian tough-guy, an Irish guy, a Middle Eastern cabdriver, a Hispanic, an African-American, an Orthodox Jew, a motivated Asian, and a cheeky British fellow. Joining the eight in this cell is a disheveled homeless man who claims to be God. Sounding like Dom DeLuise or Garfield the Cat on his Saturday morning cartoon series and looking like he's just crawled out of an alley, the man obviously does not immediately inspire the idea of the divine creator, and, understandably, the group is a little more than skeptical of him. Realizing that, at least for the time, his constant assertions about loving 'all his children' are falling on deaf ears, the man pipes down and leaves the rest to their own devices.

Soon the others begin sparing in battles of words, arguing over race, religion, sexuality, etc. In between arguments, we flash back to a scene of each man outside the prison walls that somehow further illuminates his character. As the night wears on, the group continues arguing, secrets are revealed, etc., and, just as the assemblage finally starts working out its differences, a force of evil (who looks a little like the false Guffman from Waiting for Guffman) shows up to test their newfound humanism.

I guess if all of this sounds a little heavy-handed, it's fair to say that it is; however, the movie is so good in its intentions that it's hard to fault it. Sure, I know I should love people of all races, colors, creeds, sexualities, etc., but I honestly don't mind being told that again as long as the lesson isn't being delivered too sappily. God may get a little preachy at times, but at least it puts a fresh spin on an important message.

As for the actual elements of theology in the film, things are, intelligently, kept open to interpretation. The function of the God-Bum in the proceedings is actually fascinatingly indeterminate - the kind of thing one could argue either way. In fact, the more I've been thinking about this since I watched it, the less clear it all becomes, and if there's anything I love in my films, it's philosophical ambiguity! Even when, toward its end, the film starts coming a little too close to certitude, it manages to leave things up to the viewer via a wonderful 'punch line' of sorts that throws everything the audience has just witnessed into question. In the end, there's much about God to mull over, which pleased me quite a bit; if you're anything like me, you should find it similarly enjoyable, particularly several days after you've finished it.

On a technical level, too, God is accomplished. Good cinematography and tight editing keep the action, which is mostly confined to the barren confines of the cell, surprisingly involving. Music is also well-done, and, when mixed with the low-budget cinematography, gives some of the opening scenes on the city streets a 70s-exploitation feel that made me feel very warm and fuzzy inside. Finally, acting is noteworthy, too, with all the players turning in accomplished performances; however, special props are due to Ken Lin, who does an especially fine job of pulling off his character's difficult dramatic about-face. Kamal Ahmed also deserves kudos for his job as writer-director (among other things). While his feature isn't necessarily perfect, it's still a job well-done and something to be proud of. I'm sure he'll go on to produce more great material in the future.

And, on that note (i.e., jobs well-done), now comes the time for me to once again fawn over Synapse Films, which has done its usual bang-up job on this release. Image, presented anamorphic in its 1.78:1 aspect ratio, is generally clear and crisp, aside from a couple of nighttime exteriors where a little grain does become apparent. Still, considering the production's circumstances, things look as good as can be expected, and, while the picture may not knock your socks off, it's still, overall, a fine presentation.

Adding to the tantalizing nature of this package is a bevy of fine supplements. Starting things off are a well-edited promotional trailer and about five minutes of deleted scenes (mostly wise cuts, though there are a few nice bits to be found). Next is a 14-minute making-of segment that provides a welcome, if all-too-brief, look behind the scenes of this low-budget film shoot through cast interviews and production footage. Personally, I would have liked to have seen every actor get a say (only a few really get a chance to talk) and perhaps even more behind-the-scenes footage, but I guess it's always best to leave the audience wanting more...

In addition to all this, a selection of eleven songs from the film's soundtrack is available too, which pleased me since I really enjoyed the score (particularly that great title theme!). Finally, things wrap up with a commentary by writer-director Kamal Ahmed that provides some good insight both into low-budget movie production and into Ahmed's aspirations for and philosophies about this project in particular.

All in all, God Has a Rap Sheet is a solid little feature. It's intelligent in its address of theological and sociological issues and lets the viewer think for himself and reach his own conclusions about its subject matter, an allowance that is becoming rarer and rarer these days. As usual, Synapse Films delivers with a fine package for a fine movie; check it out.

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