Ten years ago, we embarked on a journey that would take us places, physically and emotionally, one that would change us as artists and people, forever. Two and a half years. Fifty-two shooting days. Freezing cold. Scorching heat. Metric tons of Little Caesars, potential tetanus, and good, good times.
— The filmmakers
Shortly after dying in a car crash, Faith, a devout Christian, arrives in Heaven — only to find it a barren wasteland ravaged by an apocalyptic war, populated by otherworldly, demonic-creatrues, and ruled by Zerach, a treacherous arch angel who has overthrown Heaven and enslaved God.
Her faith in tatters, Faith joins Judas, Thomas, and a team of rogue Apostles. Together, they lock n’ load to find an exiled Jesus Christ and reclaim Heaven’s throne.
This film — as with my recent, rabbit-hole discoveries of Mayflower II and 2025: The World Enslaved by a Virus — is a pleasant streaming surprise: one made for a mere $40,000. And when you experience the scope of this action-comedy/horror-fantasy hybrid, you’ll come to appreciate the filmmaker’s abilities to squeeze the most of out their slight budget.
Looking over the resumes of Chicago-bred co-writers and directors Mike Meyer and Chris Sato, along with fellow co-writer Jason Kraynek, you’ll realize they’re a trio of experienced filmmakers — ones with a lot of miles between them via various shorts, web-series, and music videos. And it shows in the frames of this Chicago-shot Christploiter that takes those outlandish, Italian and Philippine, post-apocalyptic knockoff flicks of the ’80s to task: only this is so much better than a chintzy Bruno Mattei or Cirio H. Santiago joint*.
Those apoc-sloppers, of course, got their start with John Carpenter’s Escape from New York; it’s important to mention that iconic film, because the spirit of Carpenter’s own action-comedy/horror-fantasy hybrid, the purposefully hammy Big Trouble in Little China, permeates, here. Simply remove the martial arts exploitation and a insert a little exploitation of Christianity. And let’s not forget the writer of that film, D.W Richter, also gave us The Adventures of Buckaroo Banzai Across the 8th Dimension — which spins in the same wheelhouse as Heaven is Hell.
However, looking over the two, lone IMDb user reviews, Heaven is Hell is a film with no middle ground: Christians are offended, referring to it as being “atheist,” “Satanist,” and flat-out “anti-Christian.” Secularists appreciate and applaud the parody.
The same derision met Luis Buñuel’s (Simon the Desert) surrealistic, but not as parody-driven, The Milky Way (1969). The British-made Monty Python’s Life of Brian, itself offering us the concept of “an alternate-universe Jesus,” suffered the irritations of Christians and Catholics, even though Eric Idle and his cohorts insisted the film was a goof on organized, man-made religions — and not a spoof on Jesus or The Holy Bible, itself.
Such a film is Heaven is Hell, again: a film made for $40,000.
Putting any offensives one may have regarding the threading of Christianity and Catholicism beliefs through the eye of the apocalypse, aside: there is no denying this is a very well-made movie, with all of the respective film disciplines firing on all cylinders. The actors “get” their material (as did the cast of the recent, parody-excellent S**t & Champagne) and the movie is all the better for it. It’s unfortunate the joke that the “sequel” Heaven Was Hell: 2 Holy 4 Eva was coming soon . . . never had a punchline.
— R.D Francis writes for B&S About Movies.