Very very predictable, including the post credit scene !!!

It’s an especially fun movie from a director and cast who are clearly having a good time allowing themselves to let loose.

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

I excepted a lot from this small indie flick and thank you! for fulfilling those expectations. The plot absolutely intriguing summarizes life of four socially indifferent individuals, the ten year old unreal genius, curious and longing for his biological father. His mother, a femininely empowered social activist with history of freak family tragedies coincidently at age of ten resulting in deaths and loss of her mother and four brothers leaving her curiously with the job of bringing up her father.The pressure of social acceptance lead the boy to the scholar cum author of controversial book on research of his own daughters' sexuality named "Born Gay Or Made That Way".And his daughter riding the wreck of her childhood due to the unintended mistakes of her father. Their lives collide in course of verification of their paternal origin and with each of them succumbing to their present contempt.The scarce but amazing cast comprises of brilliantly played mother Toni Collette. The very mature ten year old Jason Spevack. The very uncertain and nervous Michael Sheen and apathetic daughter Samantha Weinstein.Cinematography although not unique was versatile and added pace and character to the plot.The frames of flying post-its and jovial dance of Michel Seen in rumbling rain were artistically note worthy.The direction(Dennis Lee) absolutely applaud-able with his only second major film ensured the humor in tragedy and tears in laughter.Bravely connecting scenarios with absurd coincidences surprisingly to extravagant results. All in all an indie at its best and humorous none the less.

"Jesus Henry Christ" is preposterous, pretentious, venomous, and maddeningly unclear about what it wants to say and how it wants to say it. Much like the philosophy of art for art's sake, the film's quirkiness has no intrinsic value; it's weird simply for the sake of being weird. We're tempted to think that it takes a moral position, given the narrative usage of feminism, militant antiestablishment rhetoric, atheism, racial and gay intolerances, nontraditional family values, and the rewards and deficits that come from being a genius. In fact, the story is divorced from pretty much any sense of morality; all the beliefs listed above are not examined convincingly and are included primarily to be made fun of. In spite of all this, the film ends on such a mechanically upbeat note that it might as well have served as the ending to a sitcom episode.Adapted by writer/director Dennis Lee from his own student film, "Jesus Henry Christ" tells the story of Henry James Herman (Jason Spevack), who was conceived in a Petri dish and born to an activist mother named Patricia (Toni Collette), with whom he's on first-name terms. At nine months old, he was already able to speak complete sentences. At five, he was expelled from kindergarten for questioning the point of telling the teacher a word that begins with Y. Now at age ten, he has been expelled from a Catholic high school for heresy, having caused a riot after self-publishing a manifesto proclaiming that there is no God. A straight-A student, he remembers absolutely everything he sees and hears. He can speed read an entire book in a matter of minutes and can quote entire passages; he can even tell you what page and paragraph the passage was on.He narrates a lengthy flashback sequence in which he details his mother's family. It's during this sequence in which Lee demonstrates how wildly wrong he is in what he believes is funny. On her tenth birthday, Patricia (Hannah Brigden) witnessed her mother burn to death when she tried to light the candles on the cake; her sleeve caught fire, and her husband tried to dowse them out with his glass of booze. Over time, Patricia endured the deaths of most of her brothers, and with the exception of the one with AIDS, all of them died very, very stupidly. The surviving brother dodged the draft by fleeing to Canada, leaving Patricia alone to care for her chauvinist father, Stan (Frank Moore). He's in possession of a gold-plated Zippo lighter that prevented a bullet from killing him. He wanted nothing more than to pass it down to one of sons. Now Henry is in possession of it.Henry knows he doesn't have a father, although he doesn't know the reason why. In a needlessly bizarre scene, Stan explains to Henry, in Spanish, that he's a test-tube baby and that a little bribery led to the discovery of Henry's half-sister. Here enters twelve-year-old Audrey O'Hara (Samantha Weinstein). Ever since unwittingly being the subject of her father's psychology book, she has been mercilessly teased and tormented by her classmates. As a result, nothing but ice water flows through her veins. As for her father, Dr. Slavkin O'Hara (Michael Sheen), he's consumed with so much stress and guilt that he spends the entire film in a medication-induced fog. Henry enters his life convinced that he's his long lost father, a prospect O'Hara finds promising for a new book.But is he Henry's father? Is he Audrey's? Over a decade ago, when he was diagnosed with testicular cancer and decided to harvest his sperm, he discovered that his wife was having an affair – with his German-accented doctor, no less. The resulting paternity case and the ensuing legal and financial conversations are occasionally interrupted by awkward scenes in which Henry and Audrey form a begrudging friendship. Needless to say, it's harder for Audrey to let someone in than it is for Henry. All paves the way for a surprisingly conventional and borderline saccharine ending, which the rest of the film had not been leading up to. This sudden change in tone, while certainly much more pleasant, was jarringly inconsistent and inappropriate.The title, as you may have surmised by now, is a play-on-words of the popular swear, "Jesus H. Christ!" which is repeatedly exclaimed by various characters throughout the film. It's not especially funny. It is, however, a lot more tolerable than the recurring appearance of a radical Muslim convert who, despite being white, speaks in an exaggerated black street accent and spouts vile racial slurs about white people. Not only is this not funny, it's actually kind of insulting. What point is Lee making here? "Jesus Henry Christ" has no ambition other than to be bizarre, esoteric, and in some cases, highly inflammatory. It displays attitudes and social movements, but never once does it actually say anything meaningful about them. Like a school bully, it mocks and torments simply because it can.-- Chris Pandolfi (www.atatheaternearyou.net)

I have to say I was impressed, pleasantly by this indie production. I did chance upon the movie and I did not expect much from the story line. I thought it would be some kind of children offering and I was prepared to sample and leave it. However I found a little gem of a film. It is funny, well acted and briskly paced. The story of the little genius is more incidental than central to the theme. I particularly like the black humour that one wouldn't expect associated with with child actors. All in all it shows that mega budget are not needed to produce an intelligent, humorous and entertaining production. Well done Dennis Lee. I will watch out for this director/writer.

The second film of Singapore Night, Jesus Christ Henry got into the lineup because of Singaporean Sukee Chew's involvement being one of three producers of the film, an indie production that made its World Premiere in the Tribeca Film Festival a few weeks ago, which drew quite a mixed response with comments that it had tried to hard. Written and directed by Korean American Dennis Lee based upon his short film back in 2003, I thought this movie garnered reactions that it didn't quite deserve for trying too hard, being crafted in the same hyperactive mold such as quirky comedies that have been seen around the region such as Citizen Dog and true blue Singaporean film 18 Grams of Love even.There are a number of focus shifts in the film that tangent off its intended protagonist Henry James Herman (Jason Spevack), a petri-dish baby conceived through in-vitro fertilization technique opted by his feminist mom Patricia Herman (Toni Collette), turning out to be the unintentional genius with a videographic memory, retaining every single little detail that he's experienced since conception. Jason Spevack would probably be yet another child actor to look out for since Freddie Highmore grew up, and this film will serve as his showreel if not for being upstaged by the other cast members given the narrative shifts that put the spotlight on them.Specifically I thought the film devoted a lot more time (not that I'm complaining) to the Patricia character, beginning with a rather lengthy introduction to the Herman family and the demise of each and every individual character beginning with Patricia's mother right down to her brothers, each in a rather comical manner that you'll likely be surprised at its rather nonchalant manner in which to bump them off, with black comedy by the bucket loads of course. And this set the course of the film to be rather gag filled in almost every scene put on screen, that for some it may be tiring and trying since it could have felt like a water torture treatment being force fed with in-your-face comedic moments. I appreciated what it had tried to do, but opinions on humour especially, and how to deliver it, will obviously be polarized.Yes like a typical comedic indie film, this one is filled with its fair share of quirky characters. Outside of the mother-son Hermans, and Patricia's father Stan (Frank Moore) who forms a very strong bond with his grandson Henry, the story also goes out to another dysfunctional father-daughter pair when Henry embarks on a mission to discover his biological father. This brings Michael Sheen into the fray as Dr Slavkin O'Hara, a professor whose book "Born Gay or Made That Way?" becomes a living hell for his daughter Audrey (Samantha Weinstein) when she is the subject of his book, and becomes the constant taunt of her schoolmates.Story-wise, the coming together of these two families in a sort of identity-crisis form the bulk of the situational comedy they find themselves in, but the pairing of both Weinstein and Spaveck together moved the story forward with both putting in strong performances and holding their own against two very powerful thespians in Sheen and Collette, although Weinstein probably upstaged Spaveck a little with her portrayal as the extremely cynical and sarcastic little girl quite unfazed by her tormentors. Again there are plenty of laugh out loud wicked moments that you will probably wonder if you're laughing at the film, or with it especially in its darker moments that could be quite unsettling.Production values are quite spiffy given the big name executive producer behind this film, though Dennis Lee and Sukee Chew were quite tight lipped on how much this film actually cost since it looked like a multi-million dollar movie. If you're still game for quirkiness in all characters of your indie films, then Jesus Henry Christ will still be your cup of tea if you see beyond, or tolerate some eyebrow raising moments with its less than friendly jibes against lesbians/feminists as well as a white man who thinks he's black, otherwise those jaded will find fault with almost every frame of the film in trying too hard with wild absurdity in characters. Split down the middle, depending on your mood and attitude.