An enjoyable indie ride with some interesting ideas about quantum physics and reality. Gets points for not dumbing down the science. Yes of course it feels indie and low budget in some places, but that's because it is indie and low budget. This should be kept in perspective when rating.

30 May 2017. This $2,000,000 science fiction movie was directed by, produced by, written by, edited by, and visual effects by Philip T. Johnson. This Johnson movie takes established physical theories about quantum theory, electromagnetism, gravity, and the multiverse and then hypothetically combining electromagnetism and gravity to come up with a storyline involving love, grief, loss, and redemption that is consistent with that science. The new interspatial, interdimensional vision of Philip Johnson is compelling and fantastical, not repetitive, derivative, or mundane. The acting is also decent even though many might disagree with the performance by Kenneth Hughes as Louis Mastenbrook PhD who does come across without social skills which in turn might be confused with a lack of acting skills and translated as boring and dull. Yet taken in context, Hughes' performance actually can be seen as a real scientist nerd who doesn't have a developed sense of interpersonal interaction with people. The rest of the performances may not be polished nor slick, yet is it their very normal portrayals that can lend to the story being experienced instead allowing the actors become artificially largely than life.

The story involves the recent loss of Brayden Taylor's girlfriend who recently experienced a personal tragedy where Brayden and whose loss Brayden could be partly to blame. A series of events leads Brayden to uncover a machine that may be able to contact the "dead." With the help of two other people who were involved in an earlier experiment using information based on Thomas Edison's 1920 interviews and who also experienced their own tragedies, Braydon attempts scientifically to pursue contacting his late girlfriend with mysterious and fantastical results.

Einstein's God Model retains elements found in earlier movies about the search for life after death such as The House on Haunted Hill (1959),Brainstorm (1983),Flatliners (1990),and The Hereafter (2010). There's an eerie similarity to The Matrix (1999) and old telephones. This movie has an emotional pull like Robin Williams' What Dreams May Come (1998) as well as Random Quest (2006). And it offers a slight variation of the conceptual approach to its much more extravaganza neighborhood of Interstellar (2016) and the more comprehensible and normal but bewildering story than Beyond the Edge (2016). For a more scientific and philosophical connection to reality, What the Bleep Do We Know? (2004) offers an almost real life companion story to Einstein's God Model.

A badly-written snoozer based on a tired cliche of a plotline, but then it does move slowly so the audience can pick up every. single. nuance. of. concept.

Seriously, this is poor science, not to mention a foundation premise that has been done to death (accept or disregard the pun, as your string theory allows). This really does just drag along then leaves the viewer without resolution or closure. The ending is vague and anti-climatic. This film won't suck you in; it just... well, it's not good. Blase acting, slow, slow premise, nice special effects if you like smoke in water.

Some people call this cerebral. I call it an assault to thinking viewers. You may want to watch something with far more substance, like maybe a Scooby Doo episode.