Das süße Wort Verheißung

Based on the non-fiction book "Moonwebs" by Josh Freed, "Ticket to Heaven" is a gripping thriller about an unsuspecting young man who gets sucked into a "religious" cult, obviously the Unification Church (though not explicitly mentioned in the film).

There's very little time wasted with extraneous or slow scenes...hence you quickly feel the sense of foreboding as David first comes in contact with them and eventually is taken under their spell. The methods outlined in the film are truly insidious.

Great acting abounds, and most of the cast has gone on to have very successful acting careers (click on the links of the cast). An added surprise is a very young Kim Cattrall, who actually acts in this film, versus the vamping character for which she later become so well known.

There's a great laugh in the credits at the end, when they use the usual legal disclaimer that says "all events and persons in the film are fictitious". If only!

It's been years since I've seen this film, but its images are burned into my mind. This is such a powerful movie that I would offer a caution to potential viewers -- the material is both gripping and frightening, and you'll never view certain 'organizations' as harmless ever again.

Nick Mancuso and R. H. Thompson both give the performances of their careers in this film, especially Mancuso. Unlike the rest of his work, he seems completely without self-consciousness here. Saul Rubinek also shines brilliantly. The two best performances may be Kim Cattrall and Meg Foster's, who give two different aspects of people who have lost their souls and who more than anyone else convey the danger facing Mancuso's character. Scariest moment in the film: Mancuso in a 'prayer meeting', thrusting his arms upward, shouting and staring with blank rage. You may even see some parallels in today's world in that scene.

Recommended in the strongest terms. 10/10

TICKET TO HEAVEN is dramatically effective, sociologically interesting, and thoroughly engaging. It has one of my favorite endings,which leaves the viewer with an intense sense of catharsis and relief. Great performances, especially by R.H. Thomson as the "deprogrammer"- what a classic character! This is an unsung sleeper which lends much insight into the world of cults and their effect on families-- track it down on video if you can!

This was an extremely accurate account of recruitment, indoctrination and life in a coercive religious group. It also accurately portrayed the lengths some go to rescue people from this type of group, the lengths some will go to stay in the group and the difficulty some people have breaking out.

In addition to an accurate portrayal of the subject matter, the film is very well made. Although I doubt it would be considered as "art", the film moves along very well, has a good plot, good acting, great dialog and the production values are very good. I did not view this film for entertainment, but rather because of the subject matter. I was pleasantly surprised that it was outstanding as dramatic film, as well as educational.

Nick Mancuso throws his all into the part of David, a young man seeking some meaning from his messy life who ends up bound tight in the web of a quasi-religious cult group. But he's got some big competition from co-star Saul Rubinek.

In the early eighties there were a couple of films fascinated by ideas of brainwashing, religious cults and deprogramming. Split Image is a companion piece to this film, which will interest many simply because of Kim Catrall's appearance as the obsessessed Ruthie, but which is even more notable I think for the strong friendship between Saul Rubinek's stand-up comedian character and the troubled protagonist, David. The film builds a poignant, revealing portrait of these two friends whose bond is crucial in determining both their futures. Rubinek is one of those instantly familiar faces whose performances in films like The Contender, Nixon, True Romance, and Dick conceal him in that strange underclass of actors - the supporting player (as opposed to the more showy supporting "Actor" parts claimed by brilliant die-hards like Dennis Hopper and Dianne Wiest.)

In this film, however, he shines and deserves to be seen in an excellently performed role. Mancuso similarly hasn't had much chance to fire like he does here (admittedly he wasn't the greatest Marquis De Sade in the film of the same name a couple of years back). His transformation here though is painful to watch but compelling and easy to empathise with as he struggles with notions of identity and truth.

If this film has any problem it is that the film is kind of tailored-for-effect a little too neatly like a tv movie, but it still manages to provoke some suspense thanks to the intensely credible performers.

An interesting lost gem of the early eighties.