TOTAL HUMILIATION: Kevin Sorbo Massively Crushes George Clooney And Matt Damon

Kevin Sorbo’s “Let there be Light” absolutely crushes “Suburbicon”, the Matt Damon and George Clooney film, in both rating and in gross earnings. Sorbo’s created “Let there be Light” for under $4 million dollars, an absolutely minuscule sum of money when it comes to producing movies, also significantly less than the $25 million it cost to do “Suburbicon”.

After just two days, “Let there be Light” had grossed over $1.8 million, a little more than the $1 million grossed by “Suburbicon”. The $4 million dollar budget is around the same budget Sorbo’s used for his previous work “God is Dead”, which grossed $100 million by the time it was out of theaters.

Check out some of the reviews:

The Atlantic

“About 30 minutes into the movie, a depressing thought dawned on me: These storylines are never going to intersect. And indeed, they don’t… The result is a film that is both mundanely and inimitably bad.”


“A misguided mix of nasty comedy and civil rights drama…  A racially charged drama, complete with flaming Confederate flags, should not be squeezed in next to a farcical film noir with bloody slapstick and zany camerawork.”

Rolling Stone

“This scattershot satire of the dark underbelly of 1950s suburbia feels like a movie the Coen brothers forgot to make… But the star, staying behind the camera here, lacks the instinct to go for the jugular the way the material demands.”

The Wrap

“Like those talented pop singers who keep making valiant stabs at being actors — and vice versa — George Clooney can’t seem to stay away from the director’s chair… Clooney’s directorial legacy won’t get any help from Suburbicon, a garish and overblown crime melodrama that combines clumsy noir with lame jabs at 1950s suburban conformity and racism, two subjects whose satirical sell-by date are now decades past.”


“I think to make it work you’d have to lop off the entire black family story (which doesn’t even get a satisfactory resolution) and just keep the Coens’ material. Mixing pulpy black comedy and a straight-ahead story of racism translates only into sanctimonious pulp.”

Entertainment Weekly

“The movie does get some fun gory mileage out of its cracked-Pleasantville premise; but mostly it feels like broad farce madly in search of a cohesive center, and a soul.”

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