While Angel Studios is a relatively new player on the cinematic scene, if you've been following my reviews you already know that I've quickly become a pretty passionate fan of their occasionally faith-based, occasionally faith-inspired filmography that kicked off with the series The Chosen and has led to such cinematic winners as Bonhoeffer, Cabrini, Possum Trot, and others. 

I'll just say up front that Homestead is the first real Angel Studios miss for me, an upcoming streaming series that never feels complete and the first Angel effort that really seems to drown in all the faith-based impulses that will lead most moviegoers to roll their eyes and shrug their shoulders. 

That said, Homestead isn't awful mostly owing to its strong ensemble and production values. The film is inspired by the Black Autumn novel series created by Jeff Kirkham and Jason Ross. The set-up is quick and simple - a nuclear bomb has been set off just off the coast of California and the country has devolved into chaos. Jeff Eriksson (Bailey Chase) has been long contracted to respond to just such a scenario by billionaire Ian Ross (Neal McDonough), an agreement that has Eriksson heading off for Ross's homestead along with wife Tara (Kearran Giovanni) and their teenager, Abe (Tyler Lofton). 

Of course, the chaos keeps chaosing. 

At 110-minutes, Homestead has a zillion narrative threads (I'm exaggerating. Kind of.) in advance of a planned series. While the film does tell a complete story, it still doesn't entirely satisfy. I've generally been pleased with early cinematic efforts by up-and-comer Ben Smallbone, the Australian-American singer from For King and County who has slowly been making a name for himself as an actor and filmmaker. Homestead feels like just a wee bit too much for Smallbone, the multi-threaded storytelling never quite building up the gravitas it needs nor the compassion that needs to drive it. 

As one might expect from the veteran, Neal McDonough is the stand-out here as Ian Ross and the screen lights up every time he takes center stage. Unfortunately, the disjointed narrative seldom allows McDonough to elevate the ensemble other than some mighty fine scenes alongside Dawn Olivieri as his wife, Jenna. I also found myself captivated by Kearran Giovanni as Tara, who serves up some of the film's more emotionally resonant moments. 

It's easy to understand why Angel was drawn to Homestead and why their nearly always dependable Angel Guild has confidence in the material. It's compelling material that feels both unfathomable and yet frighteningly next door. Yes, there's some sledgehammer politicking going on here, however, there's also promising human elements to balance it all out and these elements may get the room they need to breathe once this intro plays out and Homestead lands in its more natural format as an episodic effort. 

As someone who has at least liked and pretty much loved everything Angel Studios has served up, Homestead is, at least for me, that rare miss that creates an awful lot of storytelling possibilities but not a whole lot of confidence these stories will be told well. 

Written by Richard Propes
The Independent Critic