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I don't mean that these projects aren't carried about by people who know what they're doing with cameras, lighting, etc. The visual quality of Christian movies has definitely increased over the last decade. The caliber of talent on both sides of the camera has increased, as well. So when I say Christian movies aren't made by artists, I don't mean they aren't made by people who are good at their jobs. What I mean is that they are made by people who don't really know what the job ought to be.

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Characters in Christian movies don't often sound like people in real life. They sound like Christians imagine (or desire) real life to be. This is why the Christian protagonists are always earnest, even when they "don't have all the answers," and why the non-Christian antagonists always sound like the one-dimensional memes Christians tilt against in their Facebook streams.

Thankfully many Christian movies don't follow those rules any more, but they still prefer narrative tidiness over nuance. There is a kind of prosperity gospel that pervades contemporary Christian art. It's there in CCM radio, of course, and it's all over Christian movies, including the ones based on true stories. The team has to win. The sick person has to defy the odds. (If you can get a sick person and a sports team in the same story, you've hit Christian movie gold.) The atheist prof must get owned. The unbelieving spouse must be converted. On and on it goes. Why? Because "if you just believe," you can win.

Every prayer sounds scripted. Every dramatic moment sounds cliched. The pastors sound like the phrases on motivational posters. Christians speak to non-Christians in "gotcha" wisdom, delivering Jesusy fortune-cookie bon mots to souls apparently just a few well-turned phrases away from conversion. The theology of Christian movies can be scribbled on the back of a napkin. It's Christian bookstore coffee mug-level philosophy. It's Christian T-shirt-level aphorizing.

Christian movies are typically made by the same folks who produce weekend services full of applicational pick-me-ups and fog-and-laser inspirational easy-rock. There's not a lot depth in them because there's not a lot of depth behind them.

If you're still reading, you're either agreeing with me or just looking for more evidence of what a heartless curmudgeon I am. But here is something to consider that may surprise everybody: Suppose we actually had a Christian movie that was aesthetically excellent and artistically authentic. It was written with a writer's sensibility, theological depth, the nuance of reality, etc. And then suppose it had clear Christian content in it. Do you think it wouldn't strike so many of us as out of tune with what we expect good movies to be?

Or let's consider this: The gospel always sounds offensive to the world. Maybe Christian movies that articulate faith content clearly are destined to be laughed out of the theater, regardless of the excellence of their cinematic context, if only because the cross is foolishness to those who are perishing.

It\u2019s easy to forget that merely 8 years ago we were still receiving Bible movies like Exodus: Gods and Kings and Noah with every ancient middle-eastern character played by white British actors like Russell Crowe, Christian Bale, and Ben Kingsley. While The Chosen\u2019s cast still mostly consists of Americans and Australians rolling their Rs and doing vaguely-defined Middle Eastern accents, it\u2019s still leaps and bounds closer to authenticity than the vast majority of cheap adaptations in film history.

The Chosen\u2019s showrunner Dallas Jenkins is the son of Jerry Jenkins, the famous (or in some circles, infamous) evangelical novelist who wrote the Left Behind series and catalyzed an entire generation of other evangelicals into believing that \u2018the end times\u2019 were about to begin. Dallas, however, has clearly had some issues with typical evangelical fare from the start. While he maintains that his father\u2019s books had a hugely positive impact, he\u2019s talked openly about the terrible film adaptations of his father\u2019s Left Behind series, and the many ways they fall into the trappings of \u2018bad Christian movies.\u2019 He\u2019s also done his part to cure the cheapness of the Christian movie industry with projects that actually feel like \u2018real movies.\u2019 Dallas\u2019 first feature film, 2017\u2019s The Resurrection of Gavin Stone, was obviously his attempt to remedy some of the problems with religious filmmaking; Gavin Stone is lighthearted and comedic, it pokes fun at the church without putting it down, and the story is told from the perspective of a sympathetic skeptic rather than a goody-two-shoes believer like Josh Wheaton in the God\u2019s Not Dead series.

Ironically, all of this feels lightly reminiscent of the defensive Christian victimhood complex epitomized in movies like God\u2019s Not Dead. In the same breath, Jenkins will mention how the show has one of the highest ratings on IMDB and Rotten Tomatoes, and then respond vocally to minor criticisms as though it\u2019s constantly under attack for its bold vision. As mentioned before: this is not The Last Temptation of Christ. The artistic decisions in The Chosen are thoughtful and fresh, but they are also as theologically uncontroversial as possible - which is the only way to maintain such a wide appeal. The show is widely loved in part because it does not do anything as bold or heretical as other recent Biblical movies. It\u2019s just a very well-told adaptation of a very straightforward evangelical interpretation of The Gospels.

Reed Birney, Ann Dowd, Jason Isaacs, and Martha Plimpton all give moving performances of parents dealing with grief and hurt. The four of them create a lasting tension in the room together that makes trudging through their feelings difficult and volatile. Despite overwhelmingly positive response from critics as well as audiences (the audience score on Rotten Tomatoes is 91%), Mass more or less went under the radar upon release. It's one of the most powerful drama movies so far this decade, a gut punch about grace and redemption.

Jessie Nguyen is a writer and blogger who was interested in television and movies from a very young age. She would spend hours watching movies and analyzing the plot, characters, and dialogue. As she grew older, her passion for writing and storytelling grew stronger. Jessie's ultimate dream is to become a screenwriter in Hollywood, where she can bring her stories to life on the big screen. However, right now, she is enjoying life and her job at Collider as the site's Senior List Writer, writing about the thing she loves the most and getting paid for it. What a wild dream that her younger self would never believe would happen!

After God gave this mandate, Adam and Eve sinned. Their sin distorted and nearly killed human purpose. Christ rescues people through his death and life, then gave his church the Great Commission to disciple others. But it is important precisely because Christ uses this discipleship to restore humans to this original God-exalting purpose. Should Christian-made movies explore only discipleship methods like prayer, promises, and proverbs? Or should we also go beyond into greater, restored-humanity themes?

I know, I know. Outrage. But before you grab your pitchfork, hear me out. Blanket statements aside, I think we can admit that many of the Christian movies released in the last ten years have failed the test of good media, and not just because their budgets were so small.

Mills initially offered marketing strategy leadership for Green's global ministry before transitioning to Lifeway. In 2011, he sensed a shift in Christian media as Christian movies gained mainstream traction and started reshaping perspectives within the Christian community.

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It isn't an easy task to tackle Christian movies, which critics often dismiss as predictable. But that won't stop determined filmmakers, says Chris Hansen, a film writer/director and chair of the film and digital media department at Baylor. He takes a look at why and how.

Filmmakers are trying to tap into what is considered a profitable genre--appealing to people of faith--to make stories that matter to them. But it's clear that the people behind some of these recent films aren't doing it just because they think it will make money. Ever since Mel Gibson's The Passion of the Christ became a runaway hit, the film industry in general has come to understand that there is a large audience for films with Christian themes. Some have been successful and some misguided. But in the wake of that success, many Christians started to mobilize and make their own movies. The film industry saw that they could, in some cases, buy a decently made Christian film for distribution. So now we have a sort of hybrid, with some bigger films with Christian themes being made by the larger studios but with many more being financed independently and then sold for wide distribution. Those independently made movies tend to be the sort that appeal to people who are already believers rather than bringing a ton of non-believers into the theater. In that sense, a Christian movie has become a genre unto itself.

After The Passion of the Christ, there were several spiritual-themed horror movies released. I believe the companies that made those movies misjudged the audience. The audience that made The Passion of the Christ a hit wasn't interested in seeing a horror movie about demon possession. Over time, most companies gained an understanding that certain elements of a story might appeal to Christians, and for those companies inclined to make that sort of story, they have pursued it in various ways. The Blind Side is a good example of a more mainstream film that deals with faith. The characters in the movie--based on real people--are heavily influenced by their faith to do the things they do, to help someone in need. But it didn't wear its faith on its sleeve, so to speak. So people might see that movie simply because they like movies about football or because they like the actors involved. It had other things that would draw an audience. War Room, on the other hand, appeals to a more niche audience of evangelical Christians and has fewer of those other things that would draw a general mainstream audience. ff782bc1db