Revelation Road: The Sea of Glass and Fire is the second in a trilogy of films that take place around the advent of the Rapture. The series started with Revelation Road: The Beginning of the End (2013) and finished with the subsequent The Black Rider: Revelation Road (2014). All three films are produced by and star David A.R. White, a former mainstream actor who now exclusively specialises in Christian cinema, often also writing the scripts. The series director Gabriel Sabloff is also a specialist in this same Christian cinema niche.

One of the several criticisms I would make of The End of the Beginning is that it felt padded. It didn’t work so well as a self-contained story and when you see where the series is going here this becomes even more obvious. One of the main issues in The Sea of Glass and Fire is that The Rapture seems more a backdrop than a central event to the story. You could take The Rapture out of The Sea or Glass and Fire and it would still play fairly well without it. In the day or so that supposedly takes place between the two films, the world around seems to have dissolved into a state of quasi anarchy and chaos. Not quite the complete dissolution of civilisation we get in Mad Max 2 (1981), more the fraying around the edges that we got in the first Mad Max (1979). The Mad Max 1 comparison is not inapt for the two films have very similar plots – they are essentially road movies with one decent family man being single-mindedly pursued by a biker gang leader seeking personal vengeance. Maybe Mad Max 1 combined with the Jason Bourne films as David A.R. White begins to discover more of his conditioned super-soldier fighting skills he has seemingly forgotten.

One of the strengths of the film is that it gives us the backstory of Brian Bosworth’s gang leader Hawg, which takes up just as much time as David A.R. White’s journey does. The vengeance trail plot always works well for a film and here this is not too badly told at all. If you can sort of tune out the fact that the film climaxes on all figures coming together on their knees to ask for forgiveness and for Jesus to enter their lives rather than the knockdown punch-up showdown it seems to be aiming for, the film works reasonably well as a character-driven drama. Pro football player turned actor Brian Bosworth is well suited to all the badass thuggery, which makes nice contrast to the flashback scenes of him in a more morally centred state of mind.
 

Trailer here:-