In Staten Island, a televangelist named Reverend Edward Randall, Stephen McHattie, presides over a lucrative ministry while living a double life—quietly bilking his flock and secretly watching pornography while rehearsing his sermons in a grand, quiet home. The show is watched by Rhonda Stample, Exene Cervenka, a born-again Christian who faithfully tunes in and regularly sends him money, much to the irritation of her non-believer husband, Jerome Stample, Viggo Mortensen.
When Jerome loses his factory job, Lenore Finley, Dominique Davalos, arrives at Randall’s door in a rainstorm under the guise of car trouble. Inside, the atmosphere shifts as loneliness and temptation mingle; the two adults begin a game of seduction that escalates into a violent, charged encounter. Later that night, Jerome returns with two boorish neighbors and, misunderstanding the situation, they brutalize Randall for what they fear happened with Lenore. The group’s fear and anger spark thoughts of blackmail—a sex scandal that could topple Randall’s public image.
The next morning, a hopeful twist arrives when Rhonda spots Randall hitchhiking and pitches a fresh idea: bringing her more fully into his ministry could expand their reach and, more importantly, secure a larger stream of revenue. Randall, wary of the threat to his already fragile personal life, agrees to entertain her proposal to broaden the program and to keep the other parties from interfering.
What follows is a troubling ascent. Rhonda’s influence grows, and the ministry prospers in tandem with her elevated status and demands. Jerome, Lenore, and the neighbors enjoy a newfound, ostentatious lifestyle as the ministry expands. Yet power begins to corrupt Rhonda, who grows ambitious and pushes for control—demanding that all other partners be booted from the ministry and that she receive a bigger cut of the proceeds. Randall resists at first, but he eventually capitulates, drawn in by the lure of success and the stability it offers.
The film closes on a stark, provocative note: Rhonda’s leadership culminates in a bold performance of a heavy-metal-inspired faith anthem, “Destroy All Evil,” a spectacle that blends religious imagery with the relentless energy of the music, signaling the triumph of spectacle over conscience. The ending lingers on the unsettling fusion of faith, power, and profit as the characters navigate the consequences of their choices.
