God Has a Rap Sheet

I first saw this film at a theater in New York's East Village and found myself hooked within the first 5 minutes! I just saw it again on DVD and it was even better. Great commentary by the Director and a solid visual transfer - looks awesome! But more importantly, the script is "dead-on!" Solid writing truly brings this gritty, character drama to life. All in all, the film depicts realistic scenarios laced with many humorous parts - all the while featuring "Hell's Kitchen" as the backdrop. A must see for anyone who wants to understand what a strong, entertaining, independent film is supposed to look like. Also... The DVD extras (Commentary & Interview) provide insight as to how painstakingly difficult it was to bring this awesome film to life.

An honest character study that is fearless in finding humor in certain racial stereotypes. Very well acted especially from the lead; John Ford Noonan, who I've had the pleasure of meeting and speaking with on many different subjects and levels. The direction is solid and specific from Kamal Ahmed who's created a fresh, raw and impressive take on the Independent film medium. Bonz Malone is another powerful character who takes the film to another level. The set and some of the visual choices made in this film are amazing and prove the level of commitment involved from Director, Ahmed and Cinematographer, Tom Agnello. Another great attribute to the film is it's soundtrack by The Sacred Groove Posse which mixes funk and an old seventies type feeling to the story.

Whatever you may believe (in more sense than one), this movie might rub you a certain way. There are quite a few cliches checked here. The white old guy who says he is god, looks like or similar to what Christianity makes him out to be. Of course within the cast there is "diversity". Coincidence or not, they all get locked up in one cell and ... talking ensues.

Whatever you may think of religion and or ethinicity, the movie tries to be entertaining with that stuff while also gives you food for thought throughout. The message seems to be that it is tough to be good and very easy to be tempted to the dark side. Is there a chance for redemption, is too late or is all just ... talk? No pun intended, though to be fair there is a lot of talking which may be too much for some.

While many things are on the nose, look for subtle things like a shadow (4 minutes before the movie ends) ... have to admit was positively surprised overall by this. And the acting was decent too - like the idea and the script - whether you believe or don't ... oh it's real! It's damn real (or is it?)

A close friend of mine recommended this movie to me and although it took several days to find it,I finally saw it on NetFlix. Well,let me start by saying I haven't seen so much honesty in a movie since the '70's. What made it special was that it was flawed and uneven,but that's what endeared me even more. Actor John Ford Noonan who played a sort of "God" mouthpiece,should of been singled out by Indie crowd as one of the best performances in years,but to my surprise,many people still have not heard of this film,and when I called the IFC channel to complain (I read one of the viewer's rants on the IFC's refusel to play it) They gave me no reasonable excuse,just a simple "We passed on that title". Curious,to me. But I think there is an obvious discrimination that reeks around this title.

First caught this back in 2003, own the DVD now and still impressed by this indie flick. This film has a Mean Streets look and feel to it, and the actors, with the exception of a few weak links, are impressive. Noonan's performance is once to remember, as is Ahmed's directorial debut. The soundtrack, instrumental rock with an edge, is memorable and fits into the desolate scenery of the movie.

While the plot is, for the most part, fresh, a few of the main characters (such as the the Hasidic Jew and the Irish mobster) present more engaging character studies than others (the yuppie professionals).

Overall, well worth watching for anyone who loves early Keitel, early Scorsese NYC-style films and the witty and interesting dialog of a Whit Stillman.