Red instead devised a plan for Jason to experience a crash course on life. But what Red left him was anything but simple. So of course he figured that when Red died, the whole "reading of the will" thing would be another simple cash transaction, that his Grandfather's money would allow him to continue living in the lifestyle to which he had become accustomed. No heart-to-heart talks, no warm fuzzies, just cold hard cash. Based on the best-selling book "The Ultimate Gift" by Jim Stovall, the story sends trust fund baby Jason Stevens on an improbable journey of discovery, having to answer the ultimate question: "What is the relationship between wealth and happiness?" Jason had a very simple relationship with his impossibly wealthy Grandfather, Howard "Red" Stevens. Jacobson visual effects supervisor, Chris Cates, Jamie Beyers visual effects, Digital Hyper Studios, ReelWorks Studios stunt coordinator, Peter King assistant director, Danielle Rigby casting, Mitzi Corrigan, Penny Perry.ĭrew Waters, Austin James, Logan Bartholomew, Abigail Mavity, Ali Hillis, Jack DePew, Bechir Sylvain, Elizabeth Ann Bennett, Bill Cobbs, Peter Fonda, Brett Rice, Lee Meriwether, David Mann, James Garner.Jason thought his inheritance was going to be the gift of money and lots of it. Camera (color, HD), Christo Bakalov editor, Bridget Durnford music, Mark McKenzie music supervisor, Robin Urdang production designer, Jeremy Woodward art director, Kristina Stevenson set decorator, Karestin Harrison costume designer, Natasha Landau sound, Jarrett DePasquale supervising sound editor, Will Howard re-recording mixers, Marti D. Co-executive producer, Chris Cates, John E. Running time: 108 MIN.Ī High Top Releasing release of a Rick Eldridge production in association with ReelWorks Studios. Shillingburg (freely adapted from the novel by Jim Stovall) feel of a piece with the entire production. So he promptly buys it back by creating a “foundation” for generically altruistic purposes.Īt least the narrative sloppiness and ineptly delivered themes in the script by Brian Bird and Lisa G. It’s only once the unapologetically greedy Red has selfishly amassed his own wealth (by stepping on or exploiting an untold number of “sheep” in the process), that he realizes he’s lost his soul. Struggling to make ends meet during the Depression, Red learns a valuable Ayn Randian lesson from a wealthy land owner ( Peter Fonda, onscreen for about three minutes): Most people are sheep, while successful men are bellwethers. Meanwhile, Hanna (now played by Elizabeth Ann Bennett) inexplicably loses her spark and fades into the background to care for the couple’s four interchangeable children as any dutiful wife (apparently) should.īeyond the dispiriting gender politics, the pic’s social agenda emerges as hopelessly muddled. He’s like Daniel Plainview, only whinier and less homicidal. Unfortunately, after a strange detour into WWII (and a single battle scene that manages less verisimilitude than anything Max Fischer staged in “Rushmore”), the teens grow up and the focus falls solely on adult Red’s obsessive quest to find his fortune in oil. Largely dismal thesping briefly perks up during an early stretch carried by appealing young performers Austin James as teenage Red and Abigail Mavity as his feisty love interest, Hanna.
Thus the bulk of the film unfolds in flashbacks charting how Red (primarily played by Drew Waters) went from rags to riches, and takes an awfully long time to deliver an awfully trite message: Money only matters if you have someone special to share it with. Alexia (Ali Hillis), and only a thorough reading of the journals of his deceased billionaire grandfather, Red ( James Garner, onscreen for less than a minute), can set him straight.
#The ultimate gift Patch#
Picking up three years after the events of “Gift,” busy young mogul Jason Stevens (Logan Bartholomew, taking over for Drew Fuller) has hit a rough patch with g.f.
displays great determination, and even more folly, in his attempt to mount a “Giant”-sized family saga with the production values of “Sharknado.” Terminally dull result faces grim theatrical prospects on its way to endless Hallmark Channel reruns, where it will challenge even the most forgiving viewers to stay awake and alert throughout. Frequent faith-based filmmaker Michael Landon Jr. Both a prequel and a sequel to 2007’s inspirational theatrical bomb (but DVD hit) “The Ultimate Gift,” “The Ultimate Life” once again soft-pedals gentle messages of Christian charity and family values destined to appeal strictly to the converted.
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