I had no clue going into this. It was going to be the faith-based version of La La Land. The acting and the foundation aren’t terrible. It’s not a faith film that shoves God down your throats; it approaches it in a more relatable way.
One of the main reasons this movie is even watchable is because of the chemistry/acting by Bailee Madison and Kevin Quinn. They are dynamic together, which makes the film even remotely interesting throughout.
The cliches, teenage angst, it becomes predictable in so many facets that it becomes a little annoying but expected. Now that I have watched the entire film, I think this is more like a faith-based Glee episode instead of La La Land.
The story is outlandish. The way Eric weaves in and out of reality and the shocks and awes is impressive. It was like Punk’d with a storyline. I do love how they integrated specific points of the story with real humans. The diner scene is one of the funniest things in the movie, and Tiffany Haddish is HILARIOUS!
I wasn’t expecting to enjoy this as much as I did. Andre, Haddish and Lil Rel are the perfect trio as they show how good they really are with their comedy in the strangest of places. Several times I was watching and not sure how they didn’t break even with a smile.
Bad Trip you can turn on, shut off your brain and enjoy the laughs as they come in.
Ian is struggling, and he becomes to see that life isn’t as expected. He is a programmed ‘robot,’ and he doesn’t know that or understand it. Those around him are aware of this, but he is starting to gather function’s that he is not programmed to be capable of doing.
As we begin to unpack that Ian knows more than what he lets on, this is where Catherine Haena Kim shines as Olivia. I thought she was a fantastic asset to the film and her relationship with Ian is the foundation of making us understand what is going on. Catherine plays the role to perfection and is easily my favorite part of this film.
Omar Fadel’s score is something that stood out to me as well. Hazart’s film is layered to be this mind-bending style of thriller, and it only works if we have a score that can carry these ideas. Fadel instructs us in the film’s little moments that keep the film’s pulse when nothing is happening.
Hazart’s screenplay/directing isn’t perfect, as we have some very similar twists and turns in throughout, but he does a good job of laying down some fantastic world-building. Because of that, it keeps you interested in what is happening and what is to come. It’s a relatively solid thriller with a fantastic performance from Catherine Haena Kim.