by Josh Sewell
The fatal flaw in most Christian-themed movies is their desire to sermonize rather than focus on authenticity and compelling characters. Instead, there’s a paper-thin narrative in which people, often played by marginally talented actors, exist simply to deliver talking points. Generally, these films are also content with preaching to the choir, so they don’t bother trying to connect with general audiences.
Considering I spent most of my summers as a teenager attending church camp and I’m a theatre kid at heart, I was both intrigued and terrified by the prospect of watching Netflix’s new faith-based musical A Week Away (think High School Musical at youth camp). I’ll be honest: I went in expecting to cringe. However, I was surprised to discover an amiable, endearingly dorky movie that tries so hard to be liked it broke through my cynical shell and won me over.
The story centers on troubled teen Will Hawkins (Kevin Quinn), who finds himself at a crossroads after he steals a cop car: he can either attend Camp Aweegaway or go to juvie. It’s an easy decision, so he quickly finds himself surrounded by singing, dancing kids who somehow know all the words to Christian pop hits from the ’80s and ’90s. It’s an uncomfortable fit at first, but after becoming friends with Avery (Bailee Madison), George (Jahbril Cook) and Presley (Kat Conner Sterling), Will discovers a fresh start might be just what he needs.
What can I say? Even I’m not immune to the power of nostalgia. Less than 10 minutes in, the characters break into a Glee-style version of Steven Curtis Chapman’s “The Great Adventure” and I rolled my eyes – until the cast’s enthusiasm pummeled me into submission. Although A Week Away is irrefutably hokey, the tone comes from a wholesome, well-intentioned place. It’s a refreshing change of pace from the angry, hateful rhetoric of God’s Not Dead or the mawkish sentimentality of Breakthrough.
The flick will definitely appeal to viewers steeped in Christian pop culture, because screenwriters Kali Bailey and Alan Powell, along with director Roman White, did their homework. Chapman and Amy Grant make silly cameos as the camp lifeguard and nurse, respectively. There’s an obligatory campfire testimony scene complete with everyone singing “Awesome God.” The end credits version of Audio Adrenaline’s “Big House” even has the cast yell “touchdown!” after the lyric “…a big, big yard where we can play football.” Any ’90s-era church kid will tell you that’s as authentic as it gets.
However, the movie isn’t just for church folks. It also has broad mainstream appeal considering it’s pretty much indistinguishable from Disney Channel fare I’ve watched with my daughters over the last few years. The Jesus stuff is there, but the filmmakers don’t shove it down viewers’ throats.
Although I started out liking A Week Away ironically, I ended up thinking it’s genuinely a good movie. The outdated pop culture references make sense instead of feeling forced, since church kids tend to be a decade or so behind the rest of the world. Incorporating old songs also works surprisingly well because we’re going through an ’80s-’90s nostalgia phase anyway. (Plus, the target demo’s parents will no doubt remember them.)
The flick completely nails the brutal awkwardness of hormone-ravaged, chaste teenagers forced to be around each other 24/7. It also conveys how the plot’s low stakes still feel apocalyptic because that’s how the teens view them. Perhaps the best touch is how the characters know they’re uncool to the outside world, but they embrace it instead of developing a persecution complex.
Kudos to casting directors Beverly Holloway and Regina Moore, who found solid actors to take on the main roles. Madison exudes big “Mandy Moore in A Walk to Remember” energy, Quinn does a solid Zac Efron impression and Cook is terrific as the comic relief. I also think someone needs to cast Sterling as Kathryn Hahn’s daughter in something ASAP. Her work in the standard best friend role reminded me of Hahn in How to Lose a Guy in 10 Days.
While A Week Away won’t appeal to everyone – particularly those who like their teen flicks with a harder edge – I have a feeling it will develop a strong cult following on Netflix. It’s the perfect kind of movie for the streaming service.
A Week Away is rated TV-PG, contains thematic elements. Available on Netflix starting March 26.
The story centers on troubled teen Will Hawkins (Kevin Quinn), who finds himself at a crossroads after he steals a cop car: he can either attend Camp Aweegaway or go to juvie. It’s an easy decision, so he quickly finds himself surrounded by singing, dancing kids who somehow know all the words to Christian pop hits from the ’80s and ’90s. It’s an uncomfortable fit at first, but after becoming friends with Avery (Bailee Madison), George (Jahbril Cook) and Presley (Kat Conner Sterling), Will discovers a fresh start might be just what he needs.
What can I say? Even I’m not immune to the power of nostalgia. Less than 10 minutes in, the characters break into a Glee-style version of Steven Curtis Chapman’s “The Great Adventure” and I rolled my eyes – until the cast’s enthusiasm pummeled me into submission. Although A Week Away is irrefutably hokey, the tone comes from a wholesome, well-intentioned place. It’s a refreshing change of pace from the angry, hateful rhetoric of God’s Not Dead or the mawkish sentimentality of Breakthrough.
The flick will definitely appeal to viewers steeped in Christian pop culture, because screenwriters Kali Bailey and Alan Powell, along with director Roman White, did their homework. Chapman and Amy Grant make silly cameos as the camp lifeguard and nurse, respectively. There’s an obligatory campfire testimony scene complete with everyone singing “Awesome God.” The end credits version of Audio Adrenaline’s “Big House” even has the cast yell “touchdown!” after the lyric “…a big, big yard where we can play football.” Any ’90s-era church kid will tell you that’s as authentic as it gets.
However, the movie isn’t just for church folks. It also has broad mainstream appeal considering it’s pretty much indistinguishable from Disney Channel fare I’ve watched with my daughters over the last few years. The Jesus stuff is there, but the filmmakers don’t shove it down viewers’ throats.
Although I started out liking A Week Away ironically, I ended up thinking it’s genuinely a good movie. The outdated pop culture references make sense instead of feeling forced, since church kids tend to be a decade or so behind the rest of the world. Incorporating old songs also works surprisingly well because we’re going through an ’80s-’90s nostalgia phase anyway. (Plus, the target demo’s parents will no doubt remember them.)
The flick completely nails the brutal awkwardness of hormone-ravaged, chaste teenagers forced to be around each other 24/7. It also conveys how the plot’s low stakes still feel apocalyptic because that’s how the teens view them. Perhaps the best touch is how the characters know they’re uncool to the outside world, but they embrace it instead of developing a persecution complex.
Kudos to casting directors Beverly Holloway and Regina Moore, who found solid actors to take on the main roles. Madison exudes big “Mandy Moore in A Walk to Remember” energy, Quinn does a solid Zac Efron impression and Cook is terrific as the comic relief. I also think someone needs to cast Sterling as Kathryn Hahn’s daughter in something ASAP. Her work in the standard best friend role reminded me of Hahn in How to Lose a Guy in 10 Days.
While A Week Away won’t appeal to everyone – particularly those who like their teen flicks with a harder edge – I have a feeling it will develop a strong cult following on Netflix. It’s the perfect kind of movie for the streaming service.
A Week Away is rated TV-PG, contains thematic elements. Available on Netflix starting March 26.
Grade: B+
Reach out to Josh Sewell on Twitter @IAmJoshSewell
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