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I saw this movie, with a friend and a film writer. The content was misleading at best. The film quality and directing was amateurish. His camera actually moved from person to person, without cuts. I got dizzy just watching. I, with no film experience, know better than that.

My film writer friend thought his work was so amateurish that she was embarrassed for Rossi. My other friend who has written and done stage work herself, was literally sickened by his misportrayal of Aimee Semple McPherson's life.

His intended premise is misguided and never proved. The movie never gave "insight" to anything but gross exaggeration and erroneous information. There is nothing to indicate why she was such a phenomenon. There is never a crowd -- no attempt to give any kind of context to her world-wide appeal or her national "celebrity" status.

Seeing this movie you would think all she did in life was marry three times, in a very short span of time, and fought with her mother. And that really is the just of the movie in a nutshell. And very poorly done at that. Now I've just saved you 2 1/2 hours of watching a boring movie.

I just saw at industry screening in Hollywood, and Rossi's question and answer time was as interesting and compelling as this powerful film. This film about faith was made on faith, often Rossi showed up on set trusting someone would show up with film, food or whatever he needed. In each case, people would arrive saying, "God told me to bring you food, props, film, cameras." It is the most astonishing tale of a low budget project miraculously coming together since "El Mariachi."

There's more info on this at the film's official website, www.aimeesemplemcphersonmovie.com

Rossi's honesty about his life and personal struggles was equally moving. He made this movie because he had to, and that kind of love and vulnerability is why this film is so deeply effective in creating sympathy for the lead character.

Dreadfully bad, the acting is so poor it draws attention to what is going on in the film, not that it matters. The quality of the film is grainy and at times blurry. Didn't anyone making the film know how to focus the camera?! It is very amateurishly done. It is clearly evident director Richard Rossi has no idea how to make a film. The camera work seems like it was done by a child, the script is laughable bad. This certainly has to rank among the worst film of the 2000's. The lack of effort to capture the time period - the early 1900's is painfully obvious. This would be an excellent example for a film class and how NOT to make a film.

Bravo to Richard Rossi, producer, director, and writer of 'Aimee Semple McPherson' who also plays a leading role in his film. This remarkable drama based on the real life of the 1920's Pentecostal Evangelist, is a 190 degree turn away from today's glossy commercial film making status-quo. Aimee's life from teens to 40's is compellingly delivered by 21 year old, MIMI MICHAELS, Rossi's casting coup. The young intriguing actor is a rare if not all but extinct breed among her contemporaries. Her performance ascribes to no trappings of the twenty-something blonde pop-culture actors flooding the film market these days. Entirely unselfconscious, she is a unique blend of intelligence, sensitivity, and emotional dexterity. The real-deal classical actor gives us an unaffected 24carat 'Aimee,' exposing the complexities of her psyche, longings, frustrations and doomed attempt for personal happiness, with deft subtlety. Michaels keeps her work fresh and inspired with artfully delicate gestures baring Aimee's instability. It doesn't take us long to fall in love with the mixed-up, naughty, but well intended Aimee. James Kennedy, Aimee's mild mannered father, oft emasculated by his wife, is played by veteran, RANCE HOWARD with wisdom, warmth and tenderness. The chemistry between this father and daughter will be recognized by loving girls and daddies alike. The honesty and comfort Howard and Michaels shared together discloses a relationship that could only be divined as altruistically between Aimee and her Heavenly Father. When Aimee and her controlling mother Minnie, played discerningly by TERES BYRNE

take the screen, again familial chemistry was strong and volatile as well.

When the aggressive mother and Aimee lock horns we all sit a little more rigidly. CHARLES HOYES as Harold McPherson shows his metal as Aimee's woebegone husband in his futile competition with Jesus; or Aimee's calling to do His work. Other notable performances were given by Aimee's closest disciples, Emma and Reba played by ETIENNE ECKERT and LAURIE SHAW.

Although sustained by Mimi Michaels Magnetism, the current 2 hour plus version requires a good half hour chop if it is to see the light of day at the independent film festivals. The story line strays a bit afield in the last half hour but generously returns us to a three tissue ending. In this unpretentious film, purest Richard Rossi has, it seems, almost innocently produced a genre to be followed; making his 'A.S.M.' a reminder that the independent cinema is a great escape from the glossy mega-million dollar manipulative Hollywood flicks. R. Hughes Los Angelos

Is there enough budget to release a DVD???? I'm sure many out here want to have a copy. I'm writing this comment because I've been looking on the internet for over a year to find if there has been a home video release. Just think how many people want to see this film and there evidently has been no progress that I have seen to indicate that there is any production in the works to release a home video. This is about all I can say on the subject. I have long admired Ms McPherson as a spiritual leader and dynamic personality. I've heard recorded sermons and viewed most all other video material that relates to her story. Maybe a grant from SAG should be considered to have this important film available to the general public.

Saw at recent private industry screening of a long three hour rough cut in which a disparate mixture of evangelical Christians, cult film fanatics who think Rossi is a genius, teenagers, and 9 to 5 salt of the earth suburbanites gathered. Director Richard Rossi wanted audience feedback to assist him in trimming an hour out of the film. I must say, I was spellbound for three hours by Rossi's incredible direction and innovative visual eye, and Mimi Michaels acting as Aimee will be critically acclaimed. Rance Howard and Mimi Michaels had a great chemistry as father/daughter and Rance Howard's acting stood out, (it's obvious how his famous son Ron genetically was born for talent) he was perfect casting for the farmer with common sense and a connection to his gifted daughter. All I can say, is I believed, I bought it all. Mimi Michaels was so spot on I almost could not distinguish between her voice and Aimee McPherson's historical voice. Rossi's compassion for her as a healer who could not heal herself, and his understanding of women and their core emotional vulnerability is deeply moving. The end, Aimee's confession of her own loneliness, that only God can be her husband, and the way it ends, it had the room crying. It is masterful, and this is not an exaggeration. The timing of this, after the release of "The Passion" is perfect.

Aimee Semple McPherson 2 hours and 15 minutes DVFeature Film Director: Richard Rossi

I had the opportunity to attend a preliminary screening of the film in Pasadena California. Before attending the film, which consisted of Hollywood producers, the director Richard Rossi, and his editor, I decided to do my homework and find out just who this woman was.

Immediately the name, Aimee Semple McPherson had a certain power to it, like she 'should' be known to all, a name that commands and demands attention. The internet was able to provide me not only with her history as an evangelist in Los Angeles, but the scandal that would follow her up to her untimely death at the age of 54 in 1944. Historically Aimee Semple McPherson is the founder of the FourSquare Gospel denomination, a denomination which still thrives today, headquartered in Hollywood, California.

The film began with a rather tongue in cheek throwback opening credit sequence to the silent films of Aimee's era. It seemed as if the director really wanted to put the audience into the sights and sounds of the roaring twenties. The opening montage was very effective in doing just that.

If I could use one word to sum up my experience watching the film Aimee Semple McPherson it would be 'Interior.' ASM was shot digitally on a small budget and many times with smaller independent films this tactic usually hurts the film, in this case it enhanced the story or more importantly the character whose name is the title of the film. Aimee Semple McPherson, as director Richard Rossi portrayed her is a woman of magnificent triumphs and magnificent defeats. This film isn't about crowds and buildings and model Ts, it's about quiet emotion, loneliness, and the idea that a higher power can call us to greatness no matter what our faults. This idea is a direct contradiction to the Christian church today which seems to enjoy looking good as opposed to being good.

The film begins at her famed and much publicized disappearance off the coast of Ocean Park beach in May, 1926. This disappearance was and is rumored to have been a hoax perpetrated by Aimee herself and an accused lover, Kenneth Ormiston played wonderfully by the dashing and sexy Michael Minor. The scandal of her disappearance would find Aimee in court when, soon after she disappeared two divers died looking for her body.

Straight from her disappearance we are taken back to Aimee's humble beginnings [via a mysterious reporter] in a small town in Stratford Ontario Canada. Aimee is 17 years old living with her parents. Aimee's father James Kennedy, is played graciously and perfectly by Rance Howard, [father of Hollywood heavy-weight Ron Howard]. Howard plays Aimee's understanding and nurturing father with Americana blue-collared perfection, his every line delivered with the conviction of belief as opposed to performance.

Aimee is portrayed by newcomer Mimi Michaels with grace and conviction. All of 20 years old, Michaels breathes life into a role most Hollywood actresses would not know what to do with. The part of ASM of was offered to Rene Russo who turned the part down. A pity for Ms. Russo, the role was perhaps the best female lead to circulate Hollywood in decades.

Kiera Chaplin [granddaughter of legendary Charlie Chaplin] makes an interesting appearance as a prostitute that goes for Aimee's third husband later on in the film. Chaplin seems to make a good effort at performance but yet again she doesn't understand the qualities of being a presence, and she never really was one. It almost seemed as if her performance was edited for impact.

ASM is also a film about imperfection and how imperfect people are used to affect positive change in the lives of so many others. Unlike bland TBN fair [did anyone actually see The Omega Code?] ASM is a portrait of a life as seen through the eyes of an artist as opposed to the eyes of Christian. Aimee's life isn't pretty, and many times she comes across as near manic-depressive or bi-polar, that is how real the calling of evangelism is in her life. In fact I think a plausible argument can be made debating whether Aimee was indeed clinically nuts. The fire of evangelism is started by her first husband Robert Semple, adequately performed by unknown actor Chad Nadolski whom Aimee loses through tragic circumstances. The fire grows and builds until Aimee has a following and church of her own in Los Angeles [Angelus Temple].

Probably what captured me the most is how director Rossi fully realized how spirituality and sexuality can so easily become entangled. It's no wonder why so many men and women of faith end up falling for their secretaries or congregational members. This is an idea not welcomed by many people who call themselves Christians but it's truth and that truth is offered not graphically but subtlety.

This is an important film. Rare is it when humanity is showcased so beautifully and stylistically and at the same time with a heart. There's a particular scene in the film when Aimee uses the pulpit as a means to raise money, she is vamped out, giving the performance of her life, while looking at us, the audience, the stand in for the non-existent congregation of Angelus Temple.

First time director Rossi weaves vaudevillian decadence with sensual spirituality but still maintains the heart of a healer who ultimately couldn't heal herself. This is a film for everyone to see and love. Aimee Semple McPherson has the theatrics of Moulin Rouge but the heart of the much underrated The Apostle, this film is not to be missed, there's something there for everyone.

Evan Charles Gross Freelance Entertainment Writer Pasadena California

What makes this film and Rossi's work superior to other "Christian" filmmakers? Recently, "The Simpson's" did a brilliant parody of the evangelical movie "Left Behind," humorously demonstrating the preachy, didactic, elitist, proselytizing tripe of most Christian film. Rossi, though deeply spiritual, makes films as an artist, not a propagandist. In contrast to the Sunday School writing and wooden acting of TBN-type films, Rance Howard's nuanced performance and Mimi Michaels gifted presence reveal a filmmaker who believes deeply in his Saviour who brought director Rossi out of his much publicized past depression and despair and into recovery and grace, but who is willing to honesty look at that brokenness. His films are based on the maxim of Jesus "the truth shall set you free," rather than the evangelical agenda of a TV conglomerate or a national ministry. He is free to make work that matters critically. He explores the dysfunction and humanity of Aimee, Minnie, David and all his characters without the evangelical restraints of moralization. Though other faith-based film outfits like Cloud Ten, the Christiano brothers, Billy Graham's Worldwide Pictures, TBN's Gener8xion films, may have an appealing donor base and bank statement, they have an appalling critical track record with the movie-going public who come to the theater to be entertained not preached to. Rossi appeals as a crossover artist to the non Christian market with a Christian story and he is the only one among those mentioned above to merit serious artistic consideration. He's not pigeon-holed into apocalyptic pretentious fluff. He is an actor's director.

Director Richard Rossi's appearance at the Screen Actor's Guild and elsewhere inspires others with Q/A sessions that invariably empower actors and filmmakers to green-light themselves, to create their own work, rather than waiting for a lucky break. Rossi has influenced a generation of artists to do spiritual work.

In "Aimee Semple McPherson," he created a masterpiece with what he had. (This film was made with no money, a $300 consumer camcorder, and $60 worth of Home Depot clamp lights.)

The saving grace is the incredible acting and writing. It's obvious whenever anyone from the cast and crew speaks of the film, that the whole project was an act of love.

Richard shared his life and film with me, how the story was an honest catharsis for pain in his life. If he appears at a screening in your area, go meet Richard. He has beautiful recovery from the wounds of life, and he is a loving, spiritual father, husband, friend,and auteur.

Aimee Semple McPherson is highly recommended.

Truth is stranger than fiction, and this historical story of a sexy female faith healer who vanishes in the ocean is an amazing story!!! I think it shows how we all sin, even the spiritual giants, yet God forgives us. I read in the newspaper some extremist religious officials were upset that Rossi explores Aimee's two failed marriages, her fatal overdose, and her solitary pain. This is what makes the film controversial and compelling. Kudos to Rossi for not taking the easy route and canonizing McPherson. There is so much love, and heart and soul in this film it has to be seen to understand how it is the most powerful emotional piece I have seen!

One thing I notice, that has not been mentioned in other reviews, is that the film shows how we all have human and sexual needs, no matter how spiritual or holy we may be. Aimee leaves her husband to follow God's will, but later discovers "God is there spiritually, but He is not there physically." Richard Rossi's character provides the "smell of a real man," and she needs filled up by the fun and frolic he provides.

Overall, the story kept my interest the whole time. There were some reminders the film was done on a small budget, such as the lack of big crowd scenes or extras, and scenes that stay in a two-shot off one camera, rather than cutting to other takes or angles. But Rossi did walk away from a lot of money that would have compromised his vision as a writer, so there is an artistic purity here of an auteur. All the husbands were great. Chad Nadolski, Charles Hoyes, and Richard Rossi. I read an interview in Filmworks magazine where Rossi said the three husbands are the three sides of our nature: spirit or superego (Chad Nadolski as Robert Semple), the mind or ego (Charles Hoyes as Harold McPherson), and the id or impulsive sensual desires (Richard Rossi as David Hutton.)

I have not seen this movie, and I would like to know where I can. The comments were very interesting, but I'm unable to evaluate it myself. I have read about her: the good and the bad, the truth and fiction, but I was fortunate to have heard and listened to her illustrated sermons at Angelus Temple, and sometimes had her as an instructor, while attending L.I.F.E. Bible College in Los Angeles. She was an inspiration to me and thousands of others. I remember in the early forties, when she had been absent from the pulpit due to a tropical disease she had contacted. I was seated in the balcony, when she entered and stood, before making her presence known. She appeared pale and held on to the back of a chair, but when the music began and she walked down the ramp to the platform, she seemed revived, as everyone stood and clapped, greeting the return of their Sister. As a human being, she may have made some mistakes, but the good she did far outweighs anything else. The success of the Foursquare organization today are the results of a farm girl from Canada, who dedicated her life to the Lord. I hope the film portrays the Aimee Semple McPherson I knew.

Richard Rossi has produced a captivating spiritual film that cuts right into your soul and challenges our traditional stereotypes of religious leaders. I admire his perseverance in making this beautiful movie and it was compeling that he showed several facets of Aimee including, preacher, daughter, mother, wife and being human. Rossi portrays Ms. McPhearson with godly fire, passion and an unyielding love for God, but at the same time showing sensual,tender, sad and confused human emotions which all of us have experienced in one way or another. "Aimee Semple McPhearson" was touching, moving and caused me to weep in some parts of the movie. GREAT movie with various twists!

What makes this stand out is the acting and the story. Rance Howard is very strong as Aimee's father. Charles Hoyes is so completely believable as Harold McPherson, you feel his pain, how hard it was to be married to a miracle woman who hears the voice of God. Kiera Chaplin become the villainous mistress perfectly, and Mimi Michaels is fantastic as Aimee. Her speech may seem affected to some modern viewers, but Aimee did preach and talk like that on old recordings. Richard Rossi is great as the likable bad guy. Like Bill Clinton, he's likable even when he's immoral. It's a similar character to the "Elmer Gantry" role Rossi played on Broadway to rave reviews. Chad Nadolski was so convincing as Irish evangelist Robert Semple, I thought he was an Irish actor until I found out differently.

I agree with the IGFA (International Guerrilla Film Association's) recent decision to name Rich Rossi's film on Sister Aimee Semple McPherson the top spot on it's list of the 100 greatest guerrilla films. (Films shot for a budget under $75,000.00) I know some felt shocked it beat out Clerks, El Mariachi, Eraserhead and other legendary cult classics, but Rossi did what is considered unthinkable and impossible in the nomenclature of the low budget world by making a period piece film (which means additional costuming and atmospheric expense) with not just a low budget, but with no budget. Rossi credits the cast for taking the initiative in many cases for their costuming and with a few minor issues, the mood and feel of the Roaring Twenties period stays intact in part due to the brilliance of Rossi and editor Jamie Prater's decision to take the liability of shooting on drugstore consumer camcorders bought for $300.00 and turn it into an asset by giving the film a sepia, jittery silent movie motif with title cards and public domain period music. What screams out in every frame is that come hell or high water, Richard Rossi had to make this film. His background as a wounded healer who could personally identify with the story's main character and her scandal gives the film an exploration of Aimee's psyche and her feeling trapped that is riveting, even at times claustrophobic.

The producer Frank Carvajal did an amazing job. This is the best movie I have ever watched I was in tears the whole time. To say this movie was ahead of its time would be a very big understatement. It was the best 2 and a half hours of my entire life. I absolutely recommend to everybody, young or old, Meak or bold, Christian or atheist. I think everybody in the entire universe should watch this masterpiece of a movie. This has to be the most underrated movie of all time it was perfect, my entire family of 6 loved it. Even my 15-year-old teen who hates almost everything said he loved it and wanted to watch it again.