The Arts & Faith Ecumenical Jury is made up of film critics and cinephiles who wish to recognize and celebrate films that use the medium to explore themes of religion, faith, or spirituality. We particularly seek to enlarge or expand the perception of what is meant by either labeling a film a “Christian” film or suggesting that it should be of interest to Christian audiences. The jury seeks to recognize quality films (regardless of genre) that have challenged, moved, enlightened, or entertained us and to draw the attention of Christian audiences to films it thinks have the potential to do the same for them.
This year’s awardees include films from Hollywood and Europe, feature films and a documentary, independents and big-budget studio films. Of particular interest are the “honorable mention” films that did not make it to the list but were selected by individual judges. Awardees included “Fury,” the very violent WWII film starring Brad Pitt, “Ida,” a black and white film about a nun who discovers that she is of Jewish heritage, “The Overnighters,” a documentary about a Lutheran clergyman struggling to help the men who came to his community in North Dakota from out of state to work in the oil industry, and “Calvary,” the story of an dedicated Irish priest trying to heal damage that is almost inimaginable.
Wrong About Critics, Wrong About Movies, Wrong About Faith
Posted on October 20, 2014 at 2:36 pm
I am not going to give the people behind the idiotic and offensive press release I recently received the recognition of identifying them by name, but the claim that they make is one I have heard often enough I need to respond. The headline: Film Critics Don’t Get Faith Films. This shows no understanding of critics, movies, or faith. It disingenuously uses Rotten Tomatoes’ audience score to “prove” that audiences can like a film even when critics do not, overlooking two key points. First, the audience score will always be higher than the critics score because by definition the people who buy tickets are already interested enough in the film to make a commitment of time and money and once having done so, are even more likely to be fans. Furthermore, the audience score can be influenced by relatively few numbers, especially if the filmmakers get their friends to cast positive votes.
Films like “The Identical” and “Left Behind” do not get bad reviews because critics don’t “get” faith-based films. They get bad reviews because they are awful films. These films are not just decidedly below average by any standard of drama or aesthetics; they are also bad theology. Referring to a couple of Bible verses and omitting sex and bad language is not enough to make a film “faith-based.” And, more important, it is not enough to make a film spiritually challenging or nourishing. “Faith-based” movies should be held to the same standards of critical review as any other film. And it is fair to expect them to meet or exceed those standards. Note that critics for faith-oriented publications have given bad reviews to these films as well.
I love to see movies that inspire audiences to make a deeper connection with God or to live a more humble and compassionate life. But too many “faith-based” films have the shakiest of theologies and are more interested in perpetuating a narrow, claustrophobic, smug brand of Christianity than they are to exploring the teachings of Christ.
I object to the notion that “faith-based” refers to only one narrow segment of Christianity. Even within that category, however, many of the movies fail in what should be their primary purpose: to challenge viewers to become better Christians. Unfortunately, instead too many of these films serve only to congratulate the audience for their superiority or promote a culture of victimhood. Instead of inspiring generosity toward others, they fuel divisiveness and prejudice.
I have found a lot to admire in some “faith-based” Christian films like Christmas with a Capital C, , The Grace Card, and Brother White. Other films engage with religious beliefs beyond that covered by the “faith-based” media industry. And of course many films that do not market themselves as “faith-based” have powerful lessons for both faithful and seekers.
I encourage everyone to read the thoughtful essay by Steven D. Greydanus, a longtime critic for Catholic publications, called Do atheists and agnostics make the best religious movies? His excellent list omits my favorite movie about Jesus, however, The Gospel According to St. Matthew, made by an atheist, Pier Paolo Pasolini, beautifully simple and one of the most moving and inspiring religious films I have ever seen.
“Faith-based” should apply to any movie that seeks to deepen our connection with the divine. And “faith-based” or not, all movies should be evaluated on the quality of their story-telling.
Copyright 2014 Riot StudiosWill Bakke has followed his two thought-provoking documentaries on faith with a remarkably smart, funny, brave, and heartfelt first feature film that explores religion and values without ever falling into the easy conventions of many faith-based films. Bakke has a sharp eye but a warm heart and a refreshing honesty that allows him to let us laugh at some of the silliness and hypocrisy he has observed but is always respectful of those who find meaning in the way they engage with God. He is a sharp observer of the craft of filmmaking as well, and the story structure and camera and editing work here show that he is ready for the big leagues. I am looking forward to what he does next.
In his last film, a documentary called “Beware of Christians,” Bakke told the story of his journey with four friends, all from devout Christian families, as they traveled through ten European cities to expand their understanding of what it means to be a person of faith. That experience clearly informs this fictional story of four college fraternity brothers. When one of them discovers that his scholarship has run out with one more tuition payment still due, he persuades his friends to establish a fake Christian charity so they can keep the money. Each of them has a different perspective. Sam (Alex Russell, soon to be seen in Angelina Jolie’s “Unbroken”), is the slick, dimpled operator who thinks this is just the ticket to smooth his path to law school. Pierce (Miles Fisher) is the selfish rich kid who does not want his father to know he is in debt. Baker (Max Adler of “Glee” and “Switched at Birth”) is the party animal who is up for whatever’s going on. And Tyler (Sinqua Walls of “The Secret Life of an American Teenager”) is a nice guy who goes along because they promise he will not have to speak in front of a group and they promise that some of the money will actually go to charity.
Sam is a charismatic speaker and the audience wants to believe. Not only do they raise money quickly for their fake charity (cutely dubbed “Get Wells Soon”), but they attract the attention of a promoter named Ken (Christopher McDonald), who wants to book them on a nationwide tour for Christian audiences. Also on the tour are a singer named Gabriel (“Happy Endings'” Zachary Knighton, with just the right touch of oily smugness) and the tour manager (and Gabriel’s girlfriend) Callie (Johanna Braddy). The guys have to up their game to appear to be more authentic. They don’t just use highlighters and post-its to mark Bible passages, they baptize their Bibles in swimming pool water to give them that thoroughly-thumbed look. In one of the movie’s highlights, Sam explains to the others how to use certain words and poses (like “The Shawshank”) to communicate piety and get more money from believers, and even how to swear just enough but not too much. Can they immerse themselves in the world of faith — and the evidence of true need — without being affected by it, especially with the example of at least one believer who demonstrates true grace?
Bakke and his co-screenwriter Michael B. Allen bring a lot of specificity to these scenes, and a sensitivity that shows he is laughing with the Christians (especially when it comes to Christian entertainment), not at them. They understand that their open-hearted generosity can be unthinking but is almost always kindly meant. And they understand that being a believer does not inoculate anyone from human failings, especially pride. They also understand that true faith requires the full engagement of the spirit. And they respect their characters and the audience enough to make it clear that the answers we value most are never easy.
Parents should know that this film has some drinking and partying and some criminal and unethical behavior.
Family discussion: Which character best fits your idea of what it is to have faith? What should Ken have done when he found out what the boys were doing? What will Sam do next?
If you like this, try: “Beware of Christians” and films like “Elmer Gantry,” “Jesus Camp,” “Marjoe,” “Blue Like Jazz,” and “Leap of Faith”
, 
, and 
. Other films engage with religious beliefs beyond that covered by the “faith-based” media industry. And of course many films that do not market themselves as “faith-based” have powerful lessons for both faithful and seekers.
, made by an atheist, Pier Paolo Pasolini, beautifully simple and one of the most moving and inspiring religious films I have ever seen.