Every year, movies and series are released, and cast members show off their talents. Writers and directors showcase their creativity. Films and series are separated into roughly three groups: the truly talented, the potentially great, and the others. At Box Office Revolution, we believe it is our prerogative to annually recognize those entertainment creators and players who have the ability to bring revolution to Christian entertainment.
Staff Choice Movie of the Year: The World We Make
Runners-Up: The Least of These: The Graham Staines Story, Heavenly Deposit
Reader’s Choice Movie of the Year: The World We Make
Runners-Up: Overcomer, Breakthrough, Unplanned
Staff Choice Season of the Year: The Chosen, Season 1
Staff Choice Actor of the Year: Jonathan Roumie
Runners-Up: Shahar Isaac, Paras Patel, Erick Avari, Caleb Castille, Kevin Sizemore, Sharman Joshi
Staff Choice Actress of the Year: Elizabeth “Liz” Tabish
Runners-Up: Lara Silva, Rose Reid, Ashley Bratcher
Staff Choice Director of the Year: Dallas Jenkins
Runners-Up: Brian Baugh, Aneesh Daniel
Staff Choice Writers of the Year: Ryan Swanson and Tyler Thompson
Runners-Up: Chris Dowling, George D. Escobar, Rose Reid, Andrew E. Matthews
Staff Choice Soundtrack of the Year: The Chosen, Season 1
Runners-Up: The World We Make, The Least of These: The Graham Staines Story
The Grove family has had their share of heartache over the past few years, but family friend Jordan Bishop has always been a constant support for them. However, the dynamics begin to shift when Jordan and Lee begin to develop a relationship after the grief seems to settle. Many discourage them from getting involved, and the small town seemingly works against their being together. Together, they experience unexpected prejudice and bias while discovering that they had more hiding below the surface than they previously realized.
Production Quality (2.5 points)
As a 2019 film, The World We Make is the type of respectable production we should be seeing time and again. There are very few flaws to point out here save for the slightly awkward editing near the end of the film (likely due to large story scope). Camera work, video quality, and audio quality are all basically flawless even though most scenes are filmed outdoors. The sets, locations, and props are extremely authentic and well-utilized; on-location shooting is definitely a big plus. Although the soundtrack could be a bit more than it is, this is a very high-level effort for a partially low-budget film, which goes to show what a little experience and proper collaboration can do for a movie.
Plot and Storyline Quality (1.5 points)
Brian Baugh has always been committed to developing raw and real storylines based on accessible characters (I’m Not Ashamed). While The World We Make is one of his calmer tales, it’s nonetheless refreshing and believable. While the scope of this story may be a bit narrow, it’s nonetheless true-to-life and demonstrates great understanding of real people. The central romance is deeper than what we usually see in these types of films because it feels more believable and everyday. There are some very important themes explored, including grief avoidance, small town prejudice, and racial ostracizing. Characters make realistic decisions based on personality and motive rather than on plot necessity, and the storyline has a few slightly unexpected turns. As a whole, this is a very enjoyable plot to witness, and while it could have been a bit better since the ending is fairly rushed and somewhat cutoff, it’s still great as it is, which is enough to push this film over the top and onto the Hall of Fame.
Acting Quality (3 points)
There are virtually no flaws in the acting department. Caleb Castille owns another starring role, and Kevin Sizemore adapts a unique character that suits him. Gunnar Sizemore is a supporting role, but he could be a new rising star. Further, Gregory Alan Williams demonstrates a much more effective role than he’s played in the past. Overall, there is clear acting coaching present here as emotions and lines are authentically delivered, which rounds out a very commendable effort.
Although The World We Make could have been a bit more dynamic than this, it mostly reaches its fullest potential as a film. There are a few nitpicks, but in the grand scheme of things, Brian Baugh is continually setting himself apart as a master of characters, which seems to give him a better proclivity for series writing rather than movie writing. Indeed, not counting this year, we’ve had a longstanding drought in Christian series, so with new opportunities coming available (VidAngel), we may be poised to seeing a breakout in creators like Baugh directing their talents toward series rather than only films. Regardless of what happens, The World We Make is another good addition to the Hall of Fame and is one you’ll definitely want to make time for.
It seems like Zach and Dave Truett have always been dealt a bad hand in life. Their mother died, and their father soon after fell into alcoholism. Dave suffers from a medical condition, so when Zach tears his ACL at a party, his chances of a football scholarship, their only clear way out of their small town, are jeopardized. This forces Zach to do the soul-searching he had always avoided since their mother died, and it leads the brothers to unexpected places.
Production Quality (2 points)
As the first production funded and facilitated by the Tebow brothers, they have definitely shown that they can aggregate funds and put them to fairly good use. For the most part, this production is quite good and hits all the right notes, including good video quality, effective camera work, professional audio quality, and a great soundtrack. Sets, locations, and props are also adequately used and constructed. While the music is good, one drawback is the many dizzying sports montages that seem to eat up most of the runtime. Because of the time spent on this part, other scenes in the film are awkwardly and abruptly cut off with poor transitions. However, on the whole, this is an above-average production that is great for a first time effort.
Plot and Storyline Quality (.5 point)
Unfortunately, the money put into the production didn’t reflect well in the plot department. While something good is trying to be portrayed in this story, it doesn’t come through well at all, mostly due to the quick, clipped scenes that leave little room for proper development. Much of the dialogue refers to off-screen content or is very punctuated; this makes for awkward conversations that are inadequate in building characters effectively. While there are some attempts to take a real look at issues facing small towns in America and the people in them, too much time is spent on sports and training montages, which makes for a fairly choppy story presentation that doesn’t flow very well at all. There are too many missed opportunities as mindless sequences crowd the runtime, and many of the characters are too basic and one-dimensional. Difficult topics are mishandled with cliches, and unexpected time jumps leave the viewer disoriented to the story’s progression. Besides a handful of good scenes near the end of the film, this movie mainly talks about things without really showing them to you and fixes things without any heart behind them. In better screenwriting hands, this could have been a great exploration of relevant issues facing ordinary people, but we are left wondering what could have been.
Acting Quality (1.5 points)
On the whole, the acting of this film could have been good, and while there aren’t any glaring errors, it’s still a bit thin. Better coaching would have likely brought out the potential in the cast members, and even so, it’s not as bad as it could have been. However, it’s not really dynamic either, which makes this an average section that rounds off a middle-of-the-road film.
In summary, Run the Race is fine for a freshman film effort, but with higher standards being set in the Christian entertainment market, new film makers will need to aim higher if they want to make their mark. Good productions have become more of a benchmark than they once were, and acting should at least be above average. The films that will truly set themselves apart moving forward are those that have dynamic plots and effective storytelling techniques. Perhaps in the their next attempt, the Tebow brothers can wield their fundraising skills to support a truly talented screenwriter.
Every year, movies are released and cast members show off their talents. Writers and directors showcase their creativity. Films are separated into roughly three groups: the truly talented, the potentially great, and the others. At Box Office Revolution, we believe it is our prerogative to annually recognize those movie makers and players who have the ability to bring revolution to Christian entertainment.
Coach Tandy Geralds only believes in what he sees in front of him. All he sees is a broken high school in Alabama forced to integrate two racial groups who desperately do not want to associate with each. Coach Geralds, also the assistant principle, is overworked, is unpopular with the school board, and is failing as a husband and father. His players are frustrated with integration and racial tensions flare easily. Tony Nathan, an underappreciated African-American athlete, is among them, yet he has been raised to treat people, regardless of skin color, the way Christ treated them. Everything changes for the team one day when Hank, an itinerant and seemingly offbeat sports chaplain, convinces Coach Geralds to let him talk to the team. At the end of his rope, Tandy reluctantly agrees. What ensues from there is a miracle that transforms the football team, the high school, and the city. One thing leads to another in a miracle season for the Woodlawn Colonels, but everything grinds to a halt one day when they are faced with adversity after adversity. But in the grand scheme of things, each character learns in one way or another that there is one Way, one Truth, and one Life—Jesus.
Production Quality (3 points)
The Erwin team went all out for this blockbuster production that was designed to reach outside of the Christian movie circles. The camera work is phenomenal, ranging from difficult football scenes to character canvasing. As an epic, the story covers a lot of time, but the editing is seamless. It is very difficult to make an epic without being too long or without letting important plot elements fall by the wayside. The editing team walked this tightrope flawlessly. The inclusion of alternate and historical footage throughout the movie is an artistic flair that was pulled off nicely. This is not a cheap production, and it shows.
Plot and Storyline Quality (3 points)
As previously mentioned, epic plots are very hard to craft. Too long, and the audience is lost. Too quick, and no points are driven home. Too often in potential epics, character development is discarded and scenes are wasted. Neither of these mistakes occurred in Woodlawn. Despite the large amount of plot and character content in this movie, nothing is missing. The dialogue is concise yet profound. There are no wasted scenes. As a side note, Box Office Revolution maintains that movies based on real events are among some of the best on the market. Nothing could be more true regarding Woodlawn. The plot twists and turns just as real life does and the historical characters are adapted well.
Acting Quality (3 points)
BOR has long called the Erwin brothers the Masters of Casting. There has never been a character in their movies that was not cast in the absolutely appropriate role. Veterans Sean Astin, Nic Bishop, Sherri Shepherd, and Jon Voight are excellent in their roles, along with newcomers Caleb Castille and Joy Brunson. All actors are coached well.
BOR can find no flaws in Woodlawn. It also can be awarded the x-factor point for delivering an important topic packaged in a masterful epic. The Erwin brothers have reached the pinnacle of their career, and there is no turning back now. The Christian movie industry is at their fingertips, and BOR expects nothing less than the best.