The Gospel

There is something about THE GOSPEL that makes you want to like it: some fine actors (Boris Kodjoe, Idris Elba, Clifton Powell, Tamyra Gray, Aloma Wright, Nona Gaye) and some really terrific gospel singing. Writer/director Rob Hardy stretches the biblical tale of the Prodigal Son to the updated story of the son of a bishop of an evangelical church who runs away to become a R&B singing star only to return to his father when cancer of the prostate signals the end of his life. The 'other' son has inherited the mantle of the bishop with special interests deflecting his commitment to the bishop's origins and the Prodigal Son finally finds acceptance in offering his talents to further the original dream of his father.

The script is conversationally pedestrian but the actors do their best to make credible characters. There is a sense of commitment from the cast of extras that leaves a warm afterglow, but in the end this is a slight story saved by some fine music. Grady Harp, January 05

This was by no means an outstanding movie, and if I didn't feel some professional obligation to see it (I'm a pastor) I probably would have passed. But then I would have missed out on a solid film telling a compelling story with some fine acting and even better music.

Yes, many of the characters are two-dimensional, and yes, the plot is predictable. But that's because it's telling an old, old story. Within that old, old story a variety of subplots bring up real-life issues in families, workplaces, churches...and excuses to bring on some very fine black gospel music (as well as gospel adaptations of popular "white" tunes).

I'm not a pastor in the black church, so I can't speak to the back rooms of that culture, but I can say that most pastors of whatever stripe do face the lure to "bigger and better," whether it be budget or attendance or campus acreage or book sales or conference registrations. And the wives of pastors face the constant challenge of being both honest and supportive, without losing their own integrity in what's a very difficult environment.

I would definitely recommend this film; for all its shortcomings it is a powerful piece.

The Gospel was a nice movie. It was what the Fighting Temptations should have been. Unlike the Fighting Temptations, this movie dealt with real situations and showed people going through real struggles. It showed people who were flawed and who were struggling with their faith but who persevered and grew. It was not a groundbreaking movie but there were surprises. Some of the characters went in different directions than I expected. The ending could have been made a little clearer. The director choose to end with flashes of scenes that you had to look at quickly before they went away. But it was a nice movie. The music was nice too, although I would have liked to have seen more variety in the songs they picked. Most of the songs came from only one composer.

A story of redemption, pride, jealousy, and reconciliation.

Fine cast with a stirring gospel soundtrack.

Although others have criticized the camera work and editing, those aspects of the movie neither bothered me nor detracted from my enjoyment of this uplifting film. I found that the acting, music, and story were engaging and enjoyable.

The singing performances of the choral groups and such gospel stars as Yolanda Adams, Fred Hammonds, Mom Winans, and Martha Munizzi combined nicely with, and elegantly complemented, the dramatic work of Idris Elba, Omar Gooding, Nona Gaye, and Clifton Powell.

American IDOL finalist Tamyra Gray shined in her acting and singing roles and showed that she has a bright future.

Not an award winning film, but quite entertaining.

I have a confession. It was out of the pure, unmitigated desire to see Idris Elba, the delectably evil Stringer Bell from HBO's "The Wire", on the big screen that I agreed "to have church," via the movie theater on a Friday night. I must say, the guilt along with the redemption was worth it. And I know I'm a sinner in that I didn't know who to look at first, Idris in his wife-beaters and tailored suits or Boris Kodjo in washed jeans and black leather--too much glorious macho for one screen let alone one southern black church. Kodjo is warm, expressive, and impressively at ease in walking that line between saint and sinner as he uses his God given gift to save the church and at the same time is not above beating down the unrepentant if the situation demands it. If I have one complaint, it would be that the sexual rivalry was implicit but not fully heightened to dramatic ends, though I am sure such a heightening would have compromised the message. Nona Gaye's moments on screen, The Matrix, Crash, are always a visitation of nearly ethereal grace, nobility, and an uncompromising beauty. The audience applauded at movie's end, vowing to buy the soundtrack and pick up a prayer book.