Self-important, over-dramatic, uninspired.

Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.

It is interesting even when nothing much happens, which is for most of its 3-hour running time. Read full review

Others have described this unusual movie better than I can. I'll just add that the extras video on the DVD is essential. It's almost as long as the very short movie itself is. It actually contains a lot more information than the movie does because it leaves out the obscure, annoying and completely irrelevant songs that pepper the movie and eat up at least a third of its under-one-hour run time. The only sad thing about the extras video is that it adds an ugly, bitter, deluded side to his otherwise interesting and sympathetic wife Connie (I love her for being outraged at Chuck Smith's egregious smugness at Lonnie's funeral).I'll also add that I am myself a gay Christian (very emphatically and uncompromisingly both), a year older than Lonnie Frisbee. My life too has been entirely transformed by Jesus (who loves gay men, by the way) and informed and infused by the marvelous Holy Spirit, and I too passed through Calvary Chapel along the way. For some reason I survived the experience that fatally wounded him, but then I was never on the front lines in the same way he was, as Jesus was, and as surprisingly few others have been.I had never heard of Lonnie Frisbee (Smith and his disciples have very successfully purged him from their history), so I'm grateful to this movie for introducing us. I love and admire and thank Lonnie for all he did, and I'm eager to meet him face to face before too much longer. He's better off now than any of us are.

I originally liked this movie.I am a student of Christian revival, as I am praying and working for revival myself, and this movie filled in some missing information for me regarding one of the few movements in modern times that comes close to being a revival. I watched it three times, paying very close attention to what might be useful to me and others who have a heart for bringing people to Jesus.I was grateful for this documentary, until the same writer/director came out with his next documentary film, Fallen Angel: The Outlaw Larry Norman. This film cast doubt on the integrity of the filmmaker and consequently cast doubt (for me) on the credibility of his first film, Frisbee.You see, I was a close personal friend of Larry Norman and his family for the last 30 years of his life, and can personally attest to the character of David Di Sabatino's work. In his movie about Larry Norman he clearly had an agenda to convey a particular storyline about Larry and set out to manufacture support for his views. Not only did he not include diverging viewpoints (that is, anything that portrayed Larry in a favorable light), but he ignored contradictory evidence and eyewitness testimony when it was offered to him, and he even spliced together statements from those who appeared in the film to make them sound worse than they were. In short, it was a hit piece.I didn't know Lonny Frisbee, and was not around to see the historical events of that Calvary Chapel movement unfold. I am entirely dependent on the integrity of those who would tell what happened, that I might trust their words and their work. I have absolutely no confidence in this filmmaker to tell the truth. In fact, I have ample reason to think he uses his work to try to distort the truth for his personal agenda.

This is the kind of well-reasoned movie about an intriguing public figure that would get a primetime TV slot if the channels claiming quality weren't afraid of meaning. Lonnie Frisbee achieved notoriety in the early Seventies as a major player in the Jesus Movement, in which counterculture kids were attracted to a less rigorous Christianity, emphasising love while minimising constriction. Frisbee was affiliated with the fledgling Calvary and Vineyard churches, both now multinational, but fell out with both, growing embittered before dying of AIDS. Director David Di Sabatino comes from an evangelical family, but possesses a modicum of scepticism to leaven the occasional sanctimony of his talking heads. (Sadly his open-mindedness doesn't transfer to the visual, as he overplays certain tics like zooming into stills off-center. Sometimes it's okay to just show the picture.) When the movie shifts to deal with Frisbee being squeezed out of the Vineyard after it was revealed he had been in a gay relationship, although it does smack of trying to force a thesis, that thesis stands: this major figure in the development of these churches has been whitewashed out of their history books. One could argue, however, that the movie does its own whitewashing by downplaying Frisbee's other sins, like his drug use. In any case, some Christians would consider the idea that a sinner could convert so many people to be perfectly apt (they're the target audience for this movie); other Christians would prefer not to contemplate such things. Hinted at is the question of whether it's possible for Christianity to thrive as an anti-authoritarian movement, like it originally was. Christianity's ubiquity would be impossible without its hierarchies; while open and reformist thought is possible at the fringes, can it affect the religion as a whole? Frisbee, for his part, seems from the archival footage to be a likable, charismatic innocent, joyful at being saved and wanting to pass this feeling on. When those who were ministered by him discuss him, he comes across as something more: an apostle, a prophet, just not a saint. Some of them to this day credit him with miracles. You may not believe them, but to possess the holy stature and earthly magnetism to have others even ascribe this gift to you is rare. The enraptured testimonies help explain the explosion of the evangelical movement, like it or not.One other thing that must be mentioned is the music, which consists mostly of prehistoric Christian rock. Like most of the genre then or since, the tracks are watered-down reassignments of what was fashionable five years earlier, except Di Sabbatino's choices are only slightly watered-down, so that, in the context of the movie, they sound actively pleasant. As Larry Norman asked, why should the devil have all the good music?

This is a great film, showing how Lonnie ministered in signs and wonders, and was a catalyst to both the Calvary Chapel and Vineyard movements. Sadly, much of the good Lonnie did was dismissed by religious people because of how Lonnie died. Kudos to David for this wonderful documentary. As one effected by Lonnie's work, I am very grateful for this film. Like my film on Aimee McPherson, David compassionately explores how an anointed person is still human, and is too often exploited and used by others for their spiritual gifts. This film effected me, spiritually and emotionally, and I hope David makes more films.