Reverend Nolan Powers (superbly played with mesmerizing four-sheets-to-the-wind manic zeal and intensity by the incomparable Gary Busey) is a fire and brimstone evangelist who has achieved tremendous fame, wealth, and power by hosting a national radio program that's broadcast from his station WGOD. A team of TV journalists do a story on Powers and his increasing popularity with the masses. However, a long-suppressed shameful secret from his dark family past threatens to destroy Powers and his current high profile status. Director Mike Hodges, working from a bold and provocative script by Tom Baum, relates the gripping story at a constant brisk pace, ably creates and sustains a supremely creepy and unsettling mood as a spooky supernatural element gradually sinks into the narrative, and expertly stages a gloriously bizarre, gruesome (blood drips from the walls, windows, and microphone in the radio station!), and chilling conclusion in which Powers is forced to confront the grim truth about himself and his past sinful misdeeds. Busey's bravura performance really keeps the show humming throughout: Ranting and raving with his trademark goggle-eyed lunatic brio ("The airwaves belong to God!"), slowly unraveling at the seams as the guilt and severity of his past weighs heavy on his conscience, and coming clean with a startling live confession over the radio late one stormy night, Busey is a true marvel to behold in a part that's tailor-made for his remarkable talent for portraying large-than-life swaggering and colorful characters with exceptional energy and conviction. While Busey dominates the proceedings with his tour-de-force acting, he nonetheless receives ace support from Geraldine Page as Nolan's forlorn mother Lynette "Mama" Powers, Robert Ito as pesky TV reporter Eric Sato, and Brioni Farrell as loyal assistant Darlene. Moreover, the central message about how you can't escape from your own sinful past history and the hypocrisy of holier-than-thou religious preacher types who pass harsh judgment on others when they are no better than said folks who have committed various indiscretions is still timely and topical even today (if Nolan was around now, he would probably be hosting his own famous podcast on the internet). Thomas Burstyn's prowling and dynamic cinematography adds plenty of energy and boasts several breathtaking aerial helicopter shots. Michel Rubini's shuddery score hits the spine-jangling spot. One of the show's finest half hours.
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