Asking far more questions than it could ever answer, Exposed ends on a note so flat and predictable that it undermines all that went before. But there are strange and memorable moments here, and a mood of eerie foreboding that’s hard to shake.

In certain mutilated pictures, you can detect the lineaments of greatness: Consider Orson Welles’s “The Magnificent Ambersons.” Here, that’s not the case.

Exposed mainly serves to expose the often torturous process of moviemaking and distribution.

If it’s any consolation to the parties involved, Exposed could have ended up being worse; however, it’s unlikely that it could have been much better. Trainwreck-bad movie enthusiasts will be disappointed to find a film largely defined by its lack of energy, in which every scene seems to be stalling for time.

It’s hard to imagine how anything salvageable could have been made out of [Gee Malik Linton's] comically pretentious script with its heavily religious overtones and plotting that grows more ridiculous by the minute.