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Originally Posted by jamez2789
tmn2 ada tidak judul film yang bertema kristen slain facing the giants(yang baru g tonton c..)?thx ya..
share ya disini ^^
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Aku pernah dapat list film-film tentang Tuhan Yesus dari Christianity Today.
The Gospel According to St. Matthew (1964)
Right from its very first frames—when a visibly upset Joseph beholds a very pregnant Mary—this film challenges the soft-focus piety that affects many adaptations of the Gospels. Director Pier Paolo Pasolini, a gay Marxist atheist who was famous for his poetry before he turned to filmmaking, certainly wanted to confront the conventional spirituality of his day, and his Jesus is more aggressive than most. But nearly every single line of dialogue comes from Matthew's Gospel (a pattern that would be followed decades later by Campus Crusade's adaptation of Luke and the Visual Bible's adaptations of Matthew and John), and the film's gritty, down-to-earth realism underscores the revolutionary nature of Christ's message; you can believe the authorities would want to crucify this guy. While the film is often hailed for stripping the story down to its basics, it also reflects Pasolini's belief in finding transcendence within the everyday—an effect that is especially achieved on the eclectic soundtrack, which includes Bach, Negro spirituals, and the Missa Luba.
The Greatest Story Ever Told (1965)
Some will say that this expensive flop, produced by the devoutly Christian George Stevens (The Diary of Anne Frank, Shane), represents everything that is wrong with Hollywood adaptations of the Gospels: it's too pretty, it's too stilted, it's too American, it's too lavish to be an authentic depiction of first-century Galilean peasant society, and it's got too many distracting cameos, culminating in John Wayne's brief, out-of-nowhere appearance as the centurion at the crucifixion. And they would have a point. But the cinematography is gorgeous, and many of the performances are quite good, especially that of Max von Sydow (as Jesus), whose austerity is leavened with moments of deeply felt emotion. Note how he cries outside Lazarus's tomb, or the warm, robust smile he gives when he meets James the Lesser.
Godspell (1973)
Prepare ye the way of the Lord! In some ways, Godspell, one of three musical Jesus movies released in 1973 (the others were Andrew Lloyd Webber's agnostic, angst-ridden Jesus Christ Superstar and Johnny Cash's The Gospel Road), may not belong on this list. For one thing, it's set in modern New York—or rather, it uses modern New York as a backdrop; one sequence even takes place on the roofs of the then-brand-new World Trade Center towers. It is also less concerned with the life of Jesus than with his sayings, especially the parables and the Sermon on the Mount, and how they resonated with the countercultural mood of that time. But it is precisely this focus on the teachings of Christ that makes the film unique. Its comical approach to the parables, and its depiction of Christ as a clown in make-up, were controversial at the time, but that debate seems quaint now in the age of VeggieTales. The giddy, and at times prayerful, music is by Stephen Schwartz (The Prince of Egypt).
The Messiah (1976)
Roberto Rossellini was one of the pioneers of post-war Italian neorealism, in films like Open City (1945), and his controversial film The Miracle (1948) prompted a landmark American court case which ultimately led to movies being recognized, for the first time, as an art form protected by free-speech laws. Toward the end of his life, he made a series of "didactic" historical biopics focusing on characters like Socrates, St. Augustine, and Blaise Pascal, and one of his very last films was this portrait of Jesus. Rossellini did not believe in "seducing" the audience with dramatic effects, so he downplays the miracles and the violence—all the stuff that other filmmakers revel in—even while he acknowledges that they occur. His version of the story emphasizes the brotherhood of men more than Christian faith, per se, but in doing so it also underscores the fact, often ignored by films in this genre, that the disciples went out and spread Jesus' message even while the Master was still alive.
Jesus of Nazareth (1977)
Some would say this is the best Jesus film; it is certainly the most. At six and a half hours, Franco Zeffirelli's mini-series gets to explore the Gospels at greater length than usual, and it fleshes out the supporting characters in ways that convey the breadth and depth of the impact Jesus had on his contemporaries. The film alternates, somewhat awkwardly, between everyday naturalism and pious theatricality; this may be the first film to show the Virgin Mary going into labor, but after her pains have ended, some shepherds arrive and speak portentously about their encounter with the angels, finishing each other's sentences as they do so. Also, as Jesus, Robert Powell has the British accent, blue eyes, and John Lennon hair that have become something of a cliché. Still, this film is supported by a fine cast (no distracting cameos here!), as well as some stirring music by Lawrence of Arabia's Maurice Jarre, and it emphasizes the Jewishness of Jesus like few others-not only to remind us of his ethnicity, but to underscore the prophecies that he fulfilled.
Jesus (1979)
Condensed from the Genesis Project's four-hour word-for-word adaptation of Luke's gospel, and now one of Campus Crusade for Christ's most effective evangelism tools, Jesus—commonly referred to as "the Jesus film"—has been translated into almost 1,000 languages and shown to more than 5 billion people, resulting in over 2 million decisions for Christ. Long promoted as the most "accurate" cinematic depiction of the life of Christ, in some ways it might very well be. Among other things, it was filmed in Israel, as close to the original locations as possible; and, following the work of scholars and archaeologists rather than traditional artists, this may have been the first film to depict the nails going through Jesus' wrists rather than the palms of his hands. The movie may go a bit too far in calling itself a "documentary"—it's more of a re-enactment—but it's not exactly "art," either. By collecting various stories from the gospel and stringing them together without any frills, the film captures some of the Bible's episodic flavor. And did any previous Jesus smile as often as Brian Deacon does?
Jesus (1999)
Produced as part of Lux Vide's "Bible Collection" series, this two-part TV-movie is kind of like The Last Temptation of Christ without the heresy. That is, it presents Jesus as a haunted and vulnerable human being who struggles with romantic attractions (to Mary of Bethany, this time) and a growing awareness of his destiny—but instead of fleeing God, he always chooses God's will for his life. Some viewers found Jeremy Sisto's interpretation of Christ a little too casual and buddy-ish, but this is one of the few Jesus films to understand that being human is about more than having emotions and dancing at parties; it is about finding God's will, and following it to the best of our ability. Note also the scene where Satan visits Jesus in Gethsemane and, taunting him with visions of nations and churches committing atrocities in Jesus' name, tries to convince him his death on the cross will be in vain; this is a far more sobering "last temptation" than anything imagined by Martin Scorsese.
The Miracle Maker (2000)
Shown in theatres in Europe and on television in North America, this follow-up to the Welsh-Russian TV series Testament: The Bible in Animation was the first major animated cartoon about the life of Jesus. Like the series that preceded it, The Miracle Maker employs a mix of animation techniques, and in a very purposeful way. The day-to-day experiences of Jesus and his followers are depicted with stop-motion puppets, while the parables, flashbacks, memories and spiritual encounters are depicted the traditional, hand-drawn way; the scene in which Jesus casts the demons out of Mary Magdalene is especially striking, as it segues from one style of animation to the other. Co-produced by Mel Gibson's Icon Productions and written by Christian author Murray Watts, the film stars the voice of Ralph Fiennes, whose Jesus is by turns tender, humorous, exasperated, and above all very, very engaging.
The Gospel of John (2003)
Of all the canonical gospels, John's may be the most unlikely candidate for a word-for-word movie adaptation; it has relatively few dramatic high points, such as the miracles, and it is full of long speeches, a couple of which stretch out over multiple chapters. Surprisingly, however, it works, thanks in no small part to actor Henry Ian Cusick, whose performance as Jesus is one of the more charismatic, confrontational and compassionate interpretations of Christ around; it also helps that Christopher Plummer's subtle, supple narration is a treat for the ears. Produced as part of the Visual Bible (previous instalments covered Matthew and Acts), The Gospel of John underscores the Jewishness of Jesus and his followers, and introduces some interesting innovations, such as putting Mary Magdalene at the Last Supper and Gethsemane. Ironically, this orthodox take on the life of Christ was produced by Garth Drabinsky, who was head of Cineplex Odeon Films when that company put up half the budget for Martin Scorsese's The Last Temptation of Christ, some 15 years earlier.
The Passion of The Christ (2004)
Mel Gibson's highly controversial, and highly personal, meditation on the death of Christ is a work of profound Catholic devotion, inspired by sources as diverse as the Stations of the Cross and the visions of Sister Anne Catherine Emmerich, a stigmatic German nun; it is also possibly the boldest, starkest portrayal of evil, both human and supernatural, since The Exorcist. The Latin and Aramaic dialogue now seem like a merely Gibsonian conceit, given the all-Mayan script for his upcoming follow-up Apocalypto; but they do contribute to the film's otherworldly and at times shockingly surreal tone. The violence aside, Gibson makes strikingly effective use of objective and subjective cinematic techniques to convey the divinity and humanity of Christ, respectively; and, more than any recent director, Gibson captures the grand supernatural conflict which gives the death of Christ its meaning.
tp skrg ga da garaga sale lagi 
ia yg main si kirk cameron, kalo Bella gue nonton "behind the scene" di TBN jadi gue tau itu film rohani LOL
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