Getting Beyond “Pretty Good for a Christian Movie”
Growing up in a home steeped in evangelical traditions, I was exposed to films and television shows designed to impart lessons about Jesus and the broader biblical narrative. Classics like McGee and Me!, VeggieTales, and productions featuring an animated worship song book populated my childhood. While not every one of these works has stood the test of time, the gems among them combined witty writing with genuine humor and a level of entertainment that defies mere ideological teaching. Now, as a parent and a culture journalist, I seek out projects that excel artistically without simply preaching to the choir, projects that captivate audiences regardless of their personal beliefs.
A recent contender in this arena is the animated film The King of Kings, which has notably overtaken even some Oscar-winning films among Korean productions in the United States. The director, Jang Seong-ho, aimed to craft a movie that not only touches the devout but also entertains those who might not share the same faith perspective. With renowned actors lending their voices, the film retells a biblical narrative through the eyes of a historical figure, balancing dramatic moments with subtle humor, all while steering clear of contemporary divisive issues.
This is not without precedent. Previous Bible-based projects, such as a playful Nativity cartoon and a successful live-action series chronicling the life of Christ, have managed to deliver their stories with a refreshing charm. The King of Kings even goes as far as urging viewers, in a post-credits message, to share the experience with others and see the story firsthand, although such a direct approach might not capture the interest of those outside its intended audience.
The film is an adaptation of a work by Charles Dickens, originally written to explain the life of Jesus to his own children—a work that only saw public release decades after his passing. In the film’s narrative, the story is introduced by a man named Charles, who performs a live reading at a theater. When his young son disrupts the performance with unruly antics, Charles’s wife gently convinces him to seize the moment as an opportunity to share the teachings of Jesus instead of punishing the child.
Despite the child’s initial indifference, he gradually becomes so engrossed in the retold events—ranging from Jesus’s humble birth in a stable to his miraculous acts of walking on water, feeding thousands, and ultimately, his crucifixion and resurrection—that he begins to envision himself as part of the unfolding drama. Interspersed throughout the film are brief explanations of cultural and religious practices, like the observance of Passover during Jesus’s time and the concept of substitutionary atonement. While these segments effectively outline the theological context, they sometimes feel more like tutorial snippets than fully integrated cinematic storytelling.
The narrative is further complicated by humorous interruptions, often involving the child’s mischievous cat, which distracts from the otherwise earnest tone of the storytelling. In aiming for a solemn portrayal of an epic biblical saga, the film seems to sacrifice the depth of its characters. Contrastingly, other projects have succeeded by presenting biblical figures as fully human—allowing for moments of levity amid trials and tribulations, thereby deepening the impact of the more somber scenes.
Evangelistic storytelling need not be awkward. The Bible, for example, contains moments of playful humor such as John’s remark about outpacing Peter on his way to Jesus’s empty tomb. These instances remind us that the divine has always intermingled with everyday human conflicts and trivialities. When such nuances are adapted skillfully for the screen, they can resonate even more powerfully than they do on the page.
Consider the 1998 animated film The Prince of Egypt—a benchmark for biblical storytelling in animation. Its success lies in portraying the inherent human drama within the biblical narrative: the camaraderie and rivalry between Moses and his adoptive brother, the emotional reunion after long separation, and the bittersweet acknowledgment of how relationships evolve over time. The film translates an ancient text into an accessible musical fellowship without overburdening its audience with direct spiritual instruction.
While The King of Kings may not quite match the evocative power of classics like The Prince of Egypt, it has still found its niche among audiences looking for faith-based entertainment. For those like me, who value a cinematic experience that bridges religious education with mainstream appeal, the film’s limited reach outside of a devoted viewership represents a missed opportunity. One can hope for future projects that draw a wider audience, reminiscent of how The Chosen evolved from a modest, crowdfunding effort to a multi-season, widely accessible series on mainstream platforms.
Ultimately, even if The King of Kings mostly resonates within a religious context, it underscores a larger point: when biblical narratives are rendered with life, humor, and a connection to human realities, they have the potential to transcend the confines of a niche market. Until a film emerges that captures this balance for a broad audience, the search for a truly crossover biblical drama continues.
Rockin’ the faith, one verse at a time!
Growing up, the Bible’s stories deeply impacted me. Now, with over 15 years of preaching experience, I blend timeless teachings with modern technology, making them relevant for today’s world.
Bible Hub Verse is my platform to share historical insights and thought-provoking articles, exploring both familiar and uncommon Christian topics. My passion is building a welcoming online space for everyone to learn, grow in their faith, and discover the Bible’s enduring message.
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