
The Good Catholic
2017
No Poster Available
1980
TV-PGDirector
Russ Doughten
Runtime
67 minutes
Average Rating
No ratings yetSynopsis
A businessman, a preacher, and a host of comic characters battle for spiritual control of a small mid-western town. Bible carrying preacher, David Whitcomb battles stubborn businessman Phil Esteem and three bumbling and treacherous demons as they plaque a small midwestern church, catching the ear of certain members of the flock causing mayhem and confusion… But who is really in charge? A warm and witty satire.
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film lacks LGBTQ+ characters or narratives addressing non-cisnormative identities. The central conflict follows a traditional spiritual lens without queer semiotic markers.
Gender Representation
The story centers on a binary conflict between a preacher and a businessman. These archetypes suggest traditional masculine leadership without evidence of gender hierarchy subversion.
Racial & Ethnic Diversity
Set in a small mid-western town, the film appears to lean toward homogeneous demographics. There is no indication of a diverse cast or non-white characters with agency.
Religious & Cultural Diversity
The narrative is rooted in singular Christian morality and spiritual warfare. It reinforces traditional religious institutions rather than exploring secularism or moral relativism.
Disability Representation
The film provides no information regarding characters with visible or invisible disabilities. No such representation is suggested within the plot.
Strengths
Areas for Improvement
AI Analysis
Whitcomb's War functions as a warm, witty satire centered on a spiritual battle for a small mid-western town. However, the film relies heavily on traditional archetypes, such as the Bible-carrying preacher and the stubborn businessman, which align with conventional social hierarchies. The narrative framework is deeply embedded in Western religious values, focusing on a struggle for spiritual control that reinforces established Christian morality. This narrow focus limits the scope for intersectional complexity or diverse perspectives. Ultimately, the film reflects the demographic and cultural norms of its 1980 setting. It lacks the representation of varied identities, making it a product of traditional, non-diverse storytelling.

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