Sixth annual Real to Reel Film Festival about to kick off in Winnipeg

Paul Boge gets it. He runs the Winnipeg Real to Reel Film Festival like, well, a film festival. Just because the films are shown in a church and are mainly new offerings on the market from what might be loosely called the Christian movie genre – a hot genre even in secular Hollywood these days – Boge doesn’t give them a free pass, as it were. If your film has copyrighted music or other material subject to copyright protection and you’re a filmmaker, you better have arranged all the necessary copyright clearances, or it won’t be screening this week at North Kildonan Mennonite Brethren Church on Gateway Road in Winnipeg. Boge, a consulting mining engineer and capital project manager with the family firm Boge & Boge Consulting Engineers in Winnipeg, wears many hats, and is a member of the church.

This year’s festival runs on four screens from today through Feb. 21, opening at 7 p.m. with three flicks, including A Matter of Faith, from Rich Christiano’s Five & Two Pictures, where a college classroom clash between a biblical creation-believing freshman and a professor teaching evolution (a popular theme in the last few years, also canvassed in God’s Not Dead and God’s Not Dead 2, being released in April) is showing in Theatre 1. You can watch a YouTube trailer for A Matter of Faith here at: https://www.youtube.com/watch?v=yiRGdJ2uPwk Christiano, a former Catholic from Waterloo, New York, became a born-again Christian in 1980. One of his early influences after his conversion experience was John MacArthur, pastor of Grace Community Church.

Two of the other feature films showing at this year’s festival are Henline Productions of Loveland, Ohio’s  Polycarp: Destroyer of Gods, based on a novel authored by Pastor Rick Lambert, a co-pastor of Grace Bible Church in Cincinnati, and War Room, from Alex and Stephen Kendrick.

St. Polycarp, one of the three chief Apostolic Fathers, was a second century bishop of Smyrna, one of the new centres for the Christian world after the fall of Jerusalem in 70 AD, and located in modern-day Turkey on the Aegean Sea, was martyred at the age of 86 in 155 AD on the orders of Statius Quadratus, proconsul of Asia.

Born in 69 AD, the real-life Polycarp was an important historical link to that Sub-Apostolic Age, during which it was possible to learn by word of mouth what the Apostles taught from those who had heard them for themselves.

But sorting out fact from fiction when it comes to the life of Polycarp of Smyrna, like so many ancient saints from the Sub-Apostolic Age, is no simple task. Much is simply shrouded in the mists of time and certainties are in short supply. Even the historical fact that Statius Quadratus was the proconsul of Asia at the time who ordered Polycarp’s martyrdom is not beyond dispute, nor is the exact year of Polycarp’s death. Quintus Septimius Florens Tertullianus wrote it was St. John the Apostle himself who made Polycarp a bishop.

The main sources of credible historical information concerning St. Polycarp are the Epistles of St. Ignatius; Polycarp’s own Epistle to the Philippians; sundry passages in St. Irenaaus; and the Letter of the Smyrnwans recounting the martyrdom of St. Polycarp. The Epistle of St. Polycarp was a reply to one from the Philippians, in which they had asked him to address them some words of exhortation.

Four out of the seven genuine epistles of St. Ignatius were written from Smyrna. In two of these – Magnesians and Ephesians – he speaks of Polycarp. The seventh Epistle was addressed to Polycarp.

Just before his martyrdom in 155 AD, Polycarp was urged by Quadratus, or whoever the proconsul was, to curse Christ, leading to Polycarp’s celebrated reply: “Fourscore and six years have I served Him, and He has done me no harm. How then can I curse my King that saved me?”  Polycarp was then burned and stabbed to death.

Henline Productions, formerly J&J Productions, is the brother and sister Protestant evangelical homeschooled filmmaking team of Joe Henline, 20, and Jerica Henline, 22.

In 2010, they entered the five-minute short video No Time in the San Antonio Independent Christian Film Festival and finished as semi-finalists in the competition.

Their next film, The Forgotten Martyr: Lady Jane Grey, shot in 2011 was entered into the 2012 San Antonio Independent Christian Film Festival and won them the Best Young Filmmaker award, and was runner-up in the Short Film category. Awards from other independent Christian film festivals included, Best Young Filmmaker at the GloryReelz Christian Film Festival, Golden Crown Award (Best Student Production) at the International Christian Visual Media Festival and Best Young Filmmaker at The Attic Film Festival.

In their script for Polycarp, a 12-year-old slave girl, Anna, is rescued and adopted by Christians in 2nd century Smyrna and befriended by the aged Polycarp. You can watch a brief 1:52 YouTube trailer for it here at: https://www.youtube.com/watch?v=7IjPlffZVy8

In real life, of course, Polycarp was supposedly born into slavery, purchased as a young boy, and raised by a godly woman in Ephesus.

As Anna is taught by Polycarp and her new family, she struggles to reconcile her beliefs with those of the Christians. When the Roman proconsul demands that all citizens worship Caesar to show their allegiance to Rome, Polycarp and the Christians stand for their faith against the growing threat of persecution, and Anna is forced to choose whom she is willing to live – and die – for.

Polycarp was awarded Best Feature Film, Audience Choice Award and Best Original Music Score at the second Christian Worldview Film Festival last March at Castle Hills First Baptist Church, also in San Antonio.

Tulsa native Garry Nation received the award for Best Lead Actor in a Feature Film for his performance as Polycarp.

A family-friendly drama, War Room is about learning to fight the right kinds of battles. Filled with humor, wit and heart, it follows Tony and Elizabeth Jordan, a middle-class couple, and their daughter, Danielle, as they struggle through personal, marital and spiritual issues. Their lives are forever changed after Elizabeth meets an elderly widow who helps her develop a secret prayer room in her home. You can watch a YouTube trailer for it here at: https://www.youtube.com/watch?v=mIl-XY9t_Lw

The Kendricks, who are both associate pastors on the staff of Sherwood Baptist Church in Albany, Georgia, got their start in 2003 with their first movie Flywheel. They conceived the idea for Flywheel in the spring of 2002 after they saw the results from Barna Research Group demonstrating empirically popular culture movies and television shows are more influential in American society than the Christian church.

Flywheel, which tells the story of a dishonest used car salesman who comes to grips with his need for God, relied on untrained actors from the Sherwood Baptist Church congregation to play all the roles, debuting as an independent film on a single Carmike Theatre screen in Albany, Georgia in April 2003 and ran for six weeks initially, often outdrawing Hollywood films on adjoining screens.

Then came Facing the Giants in 2006 and in 2008 Fireproof, made on a $500,000 budget, but generating more than $33.4 million at the box office, making it the highest-grossing independent film of the year. Their most recent film until the release last summer of War Room, Courageous, was released in September 2011. It was produced with a budget of $2 million and has grossed more than $34.5 million to date. Facing the Giants, which grossed more than $10 million; Fireproof, which grossed more than $33 million; and Courageous have a combined gross of nearly $80 million at the box office, with a combined budget of less than $4 million.

The Kendicks wrapped up principal photography on their fifth movie, War Room, in July 2014 in and around Charlotte, North Carolina. It is their first project independent of Sherwood Pictures, the movie ministry of Sherwood Baptist Church. It being produced  by Kendrick Brothers Productions with Provident Films and AFFIRM Films in distribution partnership. Provident Films, a division of Provident Music Group, develops, produces and markets faith-based films. Nashville-based Provident Music Group is a division of Sony Music Entertainment. AFFIRM Films is a division of Sony Pictures Worldwide Acquisitions (SPWA), a Sony Pictures Entertainment (SPE) company, which is a subsidiary of Sony Entertainment Inc., which in turn is a subsidiary of Tokyo-based Sony Corporation.

It is also the first Kendrick brothers project shot outside their hometown of Albany, Georgia. It drew more than 1,000 volunteers from 85 churches in the Charlotte area who stepped up and reached across denominational lines to support the production. The Kendricks remain associate pastors at Sherwood Baptist Church in Albany, Georgia.

Each Kendrick brothers film explores a subject important to Christians and the Christian life: personal integrity in Flywheel; resilient faith in Facing the Giants; loving marriages in Fireproof and heroic parenting in Courageous. War Room’s focus on prayer strategically highlights a subject of interest to a majority of Americans. According to a National Opinion Research Center survey on frequency of prayer, nearly 90 per cent of Americans claim to pray regularly. Some 60 per cent say they pray at least once a day – for Christians, that number grows to 84 per cent, according to a U.S. News and Beliefnet online poll. Almost 80 per cent of American Christians say they pray most often at home.

One of the most frequently asked questions that filmmakers ask about the festival, according to the online FAQ on Winnipeg Real to Reel Film Festival’s website is: “Does my movie have to be a Christian movie?”

The answer is, “No. While there are varying definitions of ‘Christian’ movies, WR2R is interested in both Christian movies and also movies that are not expressly Christian but feature challenging, encouraging themes that highlight interesting stories.”

The festival is a mix of larger budget films from some of the bigger American players in the Christian movie-making genre – such as Pure Flix Entertainment, Sherwood Pictures, Kendrick Brothers Productions and Provident Films – and local made-in-Manitoba efforts, including Winnipeg teenager Joshua Hood’s six-episode Shaw Cable TV-produced television project called Millworth, which takes a look at life inside Winnipeg’s worst fictional high school, and is entered in the Short Films 2 category screening Saturday at 6 p.m. and again Sunday at 1:30 p.m. with the filmmakers present.

Boge’s FireGate Films made the 2006 feature-length movie Among Thieves, with Boge writing, directing and producing the film, which explores the possibility the end is in sight for the United States dollar as the world’s reserve currency, as Gulf Arab countries including Saudi Arabia, Abu Dhabi, Kuwait and Qatar have contemplated ending dollar dealings for oil and moving to a basket of currencies including the euro and Chinese yuan or renminbi. The last Middle East oil producer to sell its oil in euros rather than U.S. dollars was Saddam Hussein’s Iraq in 1990.

Perhaps at least partially as a result of making Among Thieves, Boge has an interest in young filmmakers, who may be long on promise but short on cash. The festival FAQ notes: “My film is low budget. Do I stand a chance?”

The reply: “YES!!! Story trumps budget. If you have a great story but not a lot of cash you will be considered for the festival.”

Among the documentaries airing is Mully, directed by Austin, Texas-born director, playwright and actor Scott Haze. Mully premiered at the Austin Film Festival last November.

Charles Mulli was a poor abandoned six-year-old Kenyan boy who grew up to become successful, powerful and very rich, but decided to sell all he had to rescue street children whose condition reflected his own childhood. Saving one child has turned into rescuing thousands for Mulli.

The story has remained near and dear to Boge’s own heart.  He has travelled to Kenya and done volunteer teaching with Mulli’s organization and written two books about his African experiences: Father to the Fatherless: The Charles Mulli Story; Hope for the Hopeless: The Charles Mulli Mission; and most recently, The Biggest Family in the World, chronicling the life of Charles Mulli in an illustrated children’s book and published in December 2014. Faye Hall, administrative assistant for Winnipeg Juno-winning singer-songwriter Steve Bell’s Signpost Music and IncarNATION Ministries, spent two years creating 32 paintings that capture Mulli’s life for Boge’s The Biggest Family in the World.

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Rejoice: Canadian Catholic author Michael D. O’Brien’s Elijah in Jerusalem, the long-awaited sequel to Father Elijah: An Apocalypse, has just been published

Michael D. O’Brien, the Ottawa-born Roman Catholic author and painter, has just had Elijah in Jerusalem, his long-awaited sequel to Father Elijah: An Apocalypse, published by San Francisco’s Ignatius Press, one of the largest American publishers of Catholic books, which was founded by Father Joseph Fessio, a Jesuit, in 1978.

He has worked as a professional artist since 1970 when he had his first one-man exhibit at a major gallery in Ottawa. Since 1976, O’Brien has painted religious imagery exclusively.

When one says Elijah in Jerusalem is the long-awaited to Father Elijah: An Apocalypse, they should perhaps qualify that by making it clear long awaited by readers. Not necessarily O’Brien, who told Joan Frawley Desmond, senior editor of the National Catholic Register in an Oct. 15 interview, that he had not originally intended to write a sequel to Father Elijah: An Apocalypse, published in 1996:

“No, I didn’t,” O’Brien told Frawley, in response to her question asking if he had intended from the beginning almost 20 years ago to write a sequel? “Though the idea of a sequel was often suggested to me by readers, I rejected it for many years,” O’Brien said. “However, during the past few years, powerful images and scenes for the continuing story kept arising in my imagination, begging to be set down on paper. So I prayed and waited. Then came a moment when it was clear that I should write the book – and that the time was now.”

The father of six children, O’Brien, and his wife, Sheila, live in the village of Combermere in eastern Ontario’s scenic, historic, and very rural, Madawaska Valley, about 125 miles west of Ottawa.

I have known about O’Brien, who was briefly both an agnostic and an atheist as a young man, and his work since at least the mid-to-late 1990s, around the time Father Elijah: An Apocalypse, was published, but only got around to reading the novel a couple of years ago. It was a true delight from cover-to-cover. A few years earlier, I had read Plague Journal, one of the novels in his apocalyptic and dystopian 1990s’ trilogy, which also includes Strangers and Sojourners and Eclipse of the Sun. Plague Journal is set in the near future, composed of both written and mental notes made by Nathaniel Delaney, who is the editor of a small town newspaper. The story takes place over a five-day period as he flees arrest by a federal government agency during the preliminary stage of the rise of a totalitarian state in North America. Delaney is one of the few voices left in the media who is willing to speak the whole truth about what is happening, and as a result the full force of the government is brought against him.

O’Brien is an original yet orthodox thinker, writing a novel again with themes rooted in a Catholic view of spiritual warfare, the end times and the Second Coming. While it is not quite uncharted Catholic writing territory, eschatological and apocalyptic themes are often more associated with Protestant premillennial dispensationalist evangelical writers, say Tim LaHaye and Jerry B. Jenkins, and their best-selling 16-book Left Behind series.

O’Brien is interested in exploring the battle between good and evil in history, but also through the souls of individuals, and God’s desire for human beings to choose to love him through an act of free will. Father Elijah: An Apocalypse, Notre Dame-educated Chicago Catholic writer Thomas O’Toole has written, “follows not the simplest interpretations that ‘Revelation’ refers solely to John’s own time,” or “it is exclusively a meditation on the end of things,” or even “a map of the Church’s history.” Rather, it is the interpretation ‘favored by most of the Church Fathers … a theological vision of a spiritual landscape’ that combines all three.”

O’Brien himself, in a talk given by him on Sept. 20, 2005 at Saint Patrick’s Basilica in Ottawa, said, “There is always a battle over every soul. Even if our times prove not to be the times toward which St. John’s Revelation is pointing, each of us must go through a kind of small ‘a’ apocalypse. Each of us certainly will be given a capital ‘R’ revelation at the moment of our deaths when we experience our personal judgment, when all that we are, all that we have done or neglected to do will be revealed.

“The Greek word apokalypsis means a revealing or unveiling. During our lives in this world each of us will indeed face the beast, which is the devil, our ancient adversary, the enemy of our individual souls and of mankind as a whole. In some form or other we must learn to personally resist him and to overcome him in Christ. At the same time we must understand that there will come a point in history when all his malice, all his devices, all his rage will be released in a final vicious attack upon the entire Body of Christ. It will be intense; it will be brief. If we find ourselves in the midst of those three and a half years of total persecution, it will not feel so brief. Yet we must always keep in mind that his time is coming to an end; indeed he is already defeated by the sacrifice of Jesus on the Cross and there remains only the final battle through which the Church and the world must pass.

“We are in the final battle, we are in the apocalypse, we are in the book of Revelation, which the Church, beginning with most of the Church Fathers, believes to be a vision of the entire unfolding of salvation history after the Incarnation, culminating in the total victory of Christ over the entire cosmos and its restoration to the Father. The book of Revelation is not a schematic diagram or a flat blueprint or a purely linear timeline. It is a mysterious multidimensional vision which surely contains linear-chronological aspects, but that is not the whole thing. Indeed it is not the main thing.”

O’Brien told Frawley earlier this month: “Satan attempts to mesmerize, like a serpent paralyzing its victim with fear before devouring it. The many fronts of evil are components in the vast and complex war between good and evil  the war that will last until the end of time. As the forces of evil, visible and invisible, appear to spread and grow ever stronger, we who follow Jesus must keep before the eyes of our hearts the ultimate truth of his coming victory. A healthy balance is needed in our pondering of ‘end times’ questions. We should remain prayerfully alert, but we should never allow ourselves to become obsessively over-focused on the darkness. Again, the eyes of the serpent can delude us into discouragement and even despair.”

In the Protestant premillennial dispensationalist interpretation of Bible prophecy, which posits a pretribulation secret Rapture – there is a belief that Christians will be taken up from earth in a sudden, silent removal of true believers by God prior to a time of tribulation and the Second Coming. For this belief, pre-tribbers rely heavily on Saint Paul and 1 Thessalonians: “For the Lord himself will descend from heaven with a cry of command, with the archangel’s call, and with the sound of the trumpet of God. And the dead in Christ will rise first; then we who are alive, who are left, shall be caught up together with them in the clouds to meet the Lord in the air; and so we shall always be with the Lord.”

That, to be clear, is not a Catholic reading, nor would it be O’Brien’s reading, of 1 Thessalonians or Catholic theology, as the passage describes a very loud and public event, not a secret Rapture. We do, as does O’Brien, however, believe in a future Antichrist, and a coming trial and time of apostasy before the Second Coming.

While some of the Apostolic Fathers of the early church, including Papias, Justin Martyr, Irenaeus, Tertullian, Hippolytus, Methodius, Commodianus and Lactanitus – were premillennialists who believed that Christ’s Second Coming would lead to a visible, earthly reign – the pretribulational Rapture espoused by the Protestant premillennial dispensationalist end times writers is premised on the notion that Christ sought to establish a material and earthly kingdom, but the Jews rejected him, so the Church by necessity is a parenthetical insert into history, created as a result of Jews rejecting Christ, resulting in the existence of two people of God: the Jews, the “earthly” people, and the Christians, the “heavenly” people. This is all alien to both Catholic theology and even the premillennialist views of some of the early Apostolic Fathers.

The premillennial dispensationalism on display in recent years is of a much more recent vintage and is for the most part the creation of John Nelson Darby, an Anglo-Irish curate with of the Anglican Church of Ireland, who would eventually leave that church and in the early 1830s with a small group of men form what would come to be known as the Plymouth Brethren. It was Darby who postulated the secret Rapture and much of what premillennial dispensationalism today teaches about 190 years ago.

Elijah in Jerusalem, published earlier this month, is the continuing story of Father Elijah, formerly David Schäfer, a convert from Judaism and survivor of the Holocaust, who has for nearly two decades been a Carmelite friar at a monastery on Mount Carmel, the mountain of the prophet Elijah, overlooking the Bay of Haifa in Israel.

In the earlier novel, Father Elijah: An Apocalypse, Father (later Bishop) Elijah Schäfer confronted the president of the European Union, a man rising toward global control as president of a soon-to- be-realized world government – a man who displays certain anti-Christ-like qualities – and calls him to repentance as he attempts to sow the seeds to transform the heart of this “Man of Sin” on a secret papal mission that will take him from Israel to Vatican City and Rome, and to other cities in Italy, Poland and Turkey.

In Elijah in Jerusalem, Bishop Elijah Schäfer, appointed by the Pope in pectore as the titular bishop of the ancient Titular Episcopal See of Panaya Kapulu near Selçuk, in Central Aegean Turkey, about 200 miles from Constantinople in western Asia Minor, near Ephesus, and travelling incognito, accompanied by his fellow friar, Brother Enoch, enter Jerusalem just as the president arrives in the city to inaugurate a new stage of his rise to power. They hope to unmask him as the Antichrist prophesied by scripture and to warn the world of the imminent spiritual danger to mankind.

As the story unfolds in Jerusalem, people meet the secretly episcopally-ordained Bishop Elijah Schäfer, and in the process their souls are revealed and tested, bringing about change for good or for evil.

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St. Polycarp, a second century bishop of Smyrna, is subject of new movie just released on DVD

St. Polycarp, one of the three chief Apostolic Fathers, who was a second century bishop of Smyrna, one of the new centres for the Christian world after the fall of Jerusalem in 70 AD, and located in modern-day Turkey on the Aegean Sea, was martyred at the age of 86 in 155 AD on the orders of Statius Quadratus, proconsul of Asia. Martyred, but not forgotten, Polycarp is the subject of the Henline Productions of Loveland, Ohio movie Polycarp: Destroyer of Gods, which was released on DVD May 5, and is based on a novel authored by Pastor Rick Lambert, a co-pastor of Grace Bible Church in Cincinnati.

Born in 69 AD, the real-life Polycarp was an important historical link to that Sub-Apostolic Age, during which it was possible to learn by word of mouth what the Apostles taught from those who had heard them for themselves.

But sorting out fact from fiction when it comes to the life of Polycarp of Smyrna, like so many ancient saints from the Sub-Apostolic Age, is no simple task. Much is simply shrouded in the mists of time and certainties are in short supply. Even the historical fact that Statius Quadratus was the proconsul of Asia at the time who ordered Polycarp’s martyrdom is not beyond dispute, nor is the exact year of Polycarp’s death. Quintus Septimius Florens Tertullianus wrote it was St. John the Apostle himself who made Polycarp a bishop.

The main sources of credible historical information concerning St. Polycarp are the Epistles of St. Ignatius; Polycarp’s own Epistle to the Philippians; sundry passages in St. Irenaaus; and the Letter of the Smyrnwans recounting the martyrdom of St. Polycarp. The Epistle of St. Polycarp was a reply to one from the Philippians, in which they had asked him to address them some words of exhortation.

Four out of the seven genuine epistles of St. Ignatius were written from Smyrna. In two of these – Magnesians and Ephesians – he speaks of Polycarp. The seventh Epistle was addressed to Polycarp.

Just before his martyrdom in 155 AD, Polycarp was urged by Quadratus, or whoever the proconsul was, to curse Christ, leading to Polycarp’s celebrated reply: “Fourscore and six years have I served Him, and He has done me no harm. How then can I curse my King that saved me?”  Polycarp was then burned and stabbed to death.

Henline Productions, formerly J&J Productions, is the brother and sister Protestant evangelical homeschooled filmmaking team of Joe Henline, 20, and Jerica Henline, 22.

In 2010, they entered the five-minute short video No Time in the San Antonio Independent Christian Film Festival and finished as semi-finalists in the competition..

Their next film, The Forgotten Martyr: Lady Jane Grey, shot in 2011 was entered into the 2012 San Antonio Independent Christian Film Festival and won them the Best Young Filmmaker award, and was runner-up in the Short Film category. Awards from other independent Christian film festivals included, Best Young Filmmaker at the GloryReelz Christian Film Festival, Golden Crown Award (Best Student Production) at the International Christian Visual Media Festival and Best Young Filmmaker at The Attic Film Festival.

In their script for Polycarp, a 12-year-old slave girl, Anna, is rescued and adopted by Christians in 2nd century Smyrna and befriended by the aged Polycarp. You can watch a brief 1:52 YouTube trailer for it here at: https://www.youtube.com/watch?v=7IjPlffZVy8

In real life, of course, Polycarp was supposedly born into slavery, purchased as a young boy, and raised by a godly woman in Ephesus.

As Anna is taught by Polycarp and her new family, she struggles to reconcile her beliefs with those of the Christians. When the Roman proconsul demands that all citizens worship Caesar to show their allegiance to Rome, Polycarp and the Christians stand for their faith against the growing threat of persecution, and Anna is forced to choose whom she is willing to live – and die – for.

Polycarp was awarded Best Feature Film, Audience Choice Award and Best Original Music Score at the second Christian Worldview Film Festival in March at Castle Hills First Baptist Church, also in San Antonio.

Tulsa native Garry Nation received the award for Best Lead Actor in a Feature Film for his performance as Polycarp.

“This is a moving story of second-century persecution, reminiscent of the persecution many believers face today,” said Alex and Stephen Kendrick, producers of Courageous and Facing the Giants.

The Kendricks, who are both associate pastors on the staff of Sherwood Baptist Church in Albany, Georgia, got their start in 2003 with their first movie Flywheel. They conceived the idea for Flywheel in the spring of 2002 after they saw the results from Barna Research Group demonstrating empirically popular culture movies and television shows are more influential in American society than the Christian church.

Flywheel, which tells the story of a dishonest used car salesman who comes to grips with his need for God, relied on untrained actors from the Sherwood Baptist Church congregation to play all the roles, debuting as an independent film on a single Carmike Theatre screen in Albany, Georgia in April 2003 and ran for six weeks initially, often outdrawing Hollywood films on adjoining screens.

Then came Facing the Giants in 2006 and in 2008 Fireproof, made on a $500,000 budget, but generating more than $33.4 million at the box office, making it the highest-grossing independent film of the year. Their most recent film, Courageous, was released in September 2011. It was produced with a budget of $2 million and has grossed more than $34.5 million to date. Facing the Giants, which grossed more than $10 million; Fireproof, which grossed more than $33 million; and Courageous have a combined gross of nearly $80 million at the box office, with a combined budget of less than $4 million.

The Kendicks wrapped up principal photography on their fifth movie, War Room, last July in and around Charlotte, North Carolina. It is their first project independent of Sherwood Pictures, the movie ministry of Sherwood Baptist Church. It being produced  by Kendrick Brothers Productions with Provident Films and AFFIRM Films in distribution partnership. Provident Films, a division of Provident Music Group, develops, produces and markets faith-based films. Nashville-based Provident Music Group is a division of Sony Music Entertainment. AFFIRM Films is a division of Sony Pictures Worldwide Acquisitions (SPWA), a Sony Pictures Entertainment (SPE) company, which is a subsidiary of Sony Entertainment Inc., which in turn is a subsidiary of Tokyo-based Sony Corporation.

It is also the first Kendrick brothers project shot outside their hometown of Albany, Georgia. It drew more than 1,000 volunteers from 85 churches in the Charlotte area who stepped up and reached across denominational lines to support the production. Pre-production began in 2013 and the movie is in post-production currently and scheduled to be released Aug. 28. The Kendricks remain associate pastors at Sherwood Baptist Church in Albany, Georgia.

Each Kendrick brothers film explores a subject important to Christians and the Christian life: personal integrity in Flywheel; resilient faith in Facing the Giants; loving marriages in Fireproof and heroic parenting in Courageous. War Room’s focus on prayer strategically highlights a subject of interest to a majority of Americans. According to a National Opinion Research Center survey on frequency of prayer, nearly 90 per cent of Americans claim to pray regularly. Some 60 per cent say they pray at least once a day – for Christians, that number grows to 84 per cent, according to a U.S. News and Beliefnet online poll. Almost 80 per cent of American Christians say they pray most often at home.

A family-friendly drama, War Room is about learning to fight the right kinds of battles. Filled with humor, wit and heart, it follows Tony and Elizabeth Jordan, a middle-class couple, and their daughter, Danielle, as they struggle through personal, marital and spiritual issues. Their lives are forever changed after Elizabeth meets an elderly widow who helps her develop a secret prayer room in her home.

You can also follow me on Twitter at: https://twitter.com/jwbarker22