Religion and light comedy don’t often come together entertainingly and enjoyably, versus faith falling victim to the comedy, let alone in an Old West setting, but that’s exactly what writer/director Mark Allen Michaels delivers with JOE CRIST. Already a lover of Westerns and comedies and as someone who appreciates faith-based films, I never thought a marriage of these genres as being something that would work this well. But it does. Perhaps it’s divine intervention that aided Michaels in bringing JOE CRIST to life, but whatever the reason, I’m glad to have this film in the cinematic universe and you will be, too.
JOE CRIST is a tried and true bounty hunter. Always called by his full name “Joe Crist” and with a “Dirty Harry, Make My Day” Clint Eastwood whisper, Crist travels the West eliminating those who have done folks wrong. And he’s quite good at it. Quick on the draw, we see countless bad guys blown away with blood and body parts exploding and splattering, never to walk this earthly plain again, with Joe Crist always taking a hat or coat that he was particularly fond of as a souvenir.
But after three years, Joe Crist is tired and heads back home to a little patch of heaven that consists of a church, a saloon, a farrier, a sheriff’s office, and a boarding house. It’s there where he finds his best friend Del still sittin’ and sippin’ at the bar, and the very pretty, feisty, and witty barmaid Maggie. But he also finds trouble as the town and almost everyone in it is at the mercy of the evil Anton Weaver and his posse of ne’er do wells. Things have changed a lot over the past three years.
Doing a favor for Del and a local townswoman whose daughter has disappeared, Joe Crist sets out to find her only to get shot and blown through a second-story window, resulting in a 40-day coma. On awakening from that coma, Joe Crist is different. His hands have been bleeding off and on much like Christ’s stigmata. He feels different. When he grabs the arm of the doctor, he “sees” that the doctor is ready to head out on the local train but warns him not to. Joe Crist knows there’s danger. And yes, as he lays his hands, we see a beautiful radiant light emanating from them. Joe Crist is indeed a different man, but still a man who seeks to right wrongs, help those in need, and, yes, seek vengeance when needed as an instrument of God; a key element to making JOE CRIST as fresh and as entertaining as it is.
But what happens when Weaver and his men beat up the pastor, kidnap another woman, shoot Maggie, and demand a high noon shoot-out with Joe Crist at which Del insists on standing by his side?
If you ever want to introduce teens or young adults or even yourself to ideas of faith and Christianity, JOE CRIST may be the perfect entre for you. While the action is brutal and bloody, it’s also exaggerated and quick and executed with humor through the lensing, the manner of the action, and the soundscape, most notably the foley work. And we get a very chaste romance between Joe Crist and Maggie. But what Michaels also gives us is a wonderful tale about right and wrong and the idea of always having hope, which is all beautifully brought to the fore with recognizable Biblical elements from the Old and New Testaments such as the burning bush, the idea of a 40-day coma which is akin to Noah and rain for 40 days and 40 nights as well as Jesus walking in the desert for 40 days or Moses and his people wandering in the desert for 40 years. The symbolism is very well done and doesn’t fall prey to the comedy.
Characters are wonderfully drawn. Stereotypical, but fun, and harken to those glorious classic westerns of the white hats versus the black hats to delineate good versus evil. Dallas Valdez as Joe Crist is a standout. With that Dirty Harry whisper cracking non-stop old-time adages and always with his hat, boots and spurs, a coat, and never without his six-shooter hanging on his hip, one look at Valdez and you are immersed in time and place. Joining in the authenticity is Carrie Keagan as Maggie. A joy. Good delivery, quick with the wit, and Keagan embraces the tough bartender who can handle a gun as well as any guy. A real joy though is Curt Lambert as Del. I have seen Lambert in several westerns and he is always excellent. He truly embodies the essence of the period and the nature of whatever character he plays. While most of the comic relief comes courtesy of Lambert, perhaps one of the funniest aspects of Del is that no matter where he is or what he is doing he is never without a glass of whiskey in his hand. Put these three together and the film electrifies with fun. Their comedic timing and delivery are impeccable. Each is a master at wry wit and it elevates the entire film without ever becoming obnoxious or distasteful. In all honesty, Michaels would be smart to develop a JOE CRIST sequel with these three.
Shooting on location at the Gammons Gulch Movie Set in Arizona is perfection. We are in the Old West from beginning to end. The town itself is terrific but then add in the location vistas of the area and you’ll be thinking of John Ford.
And kudos to cinematographer Stefan Colson (who also served as 2nd Unit Director) and lighting designer Sam Wilkerson, both of whom developed a lighting and lensing palette that is wonderful, showcasing the breathtaking beauty of the region while capturing the perfect period touches of the production design and set dress. Visual tonal bandwidth soars. Lensing of the action sequences is exceedingly well done and I appreciate how Colson varied camera angles and utilized dutching to emphasize certain moments.
Adding a third hat to his duties on JOE CRIST, Stefan Colson also served as editor. Often a benefit to shoot the film as well as cut it in indie films like this, it’s my guess that was the case here and Colson was applying an editing eye to his lensing thus being more aware of coverage shots needed/not needed, the pacing of the action, etc. From an editorial standpoint, the pace is quick and tight, moving the film along at a clip.
Some might take umbrage with the sound design, particularly the foley work with gunshots that always sound like someone beating on a cast iron frying pan, but it works and the foley adds a layer of fun. Very creative of sound designer Corey Brown.
No practical burning bushes or any other heavenly moments were used in the making of JOE CRIST so between that and the shoot-outs and the over-indulgence of blood work, VFX and Special Effects up the ante.
Icing on the cake is a score from Richard Orpheus Campbell which is period-appropriate, has recognizable Western motifs, and never overpowers the film itself.
Who knew that JOE CRIST would be an easy breezy and fun meld of faith, comedy, and the Old West? Mark Allen Michaels did. I’m ready to see where JOE CRIST goes from here.
Writer and Director – Mark Allen Michaels
Cast: Dallas Valdez, Carrie Keagan, Curt Lambert, Anton Weaver
by debbie elias, 07/21/2024
JOE CRIST is now streaming on Prime Video.
