‘Flywheel: Ignition Of The Soul’ A Sobering Look At Groundbreaking Faith-Based Film
(REVIEW) It’s not unfair to say the modern faith-based film industry began with “Flywheel” in 2003. That modest, microbudget movie from brothers Alex and Stephen Kendrick eventually led to films such as “Facing the Giants” and “Fireproof” and helped define the genre for more than two decades. While “The Passion of the Christ” in 2004 demonstrated Hollywood’s interest in the Christian moviegoing market, the Kendrick Brothers established what faith-based cinema would look like: Low-budget inspirational dramas about middle-class Christian families navigating life’s challenges.
Now, more than two decades later, the brothers have remade their original film, this time in Brazil. The result highlights both how far the industry has come and how much further it still has to go.
Set in Rio de Janeiro, “Flywheel: Ignition of the Soul” follows Noah Silva, a smooth-talking used-car salesman whose anything-goes approach to business begins unraveling his family life. After several wake-up calls, Noah must confront the consequences of his choices and work to restore his integrity and win back his wife and son. Produced in Portuguese, the U.S. theatrical version features English voice performances by Brett Varvel, Masey McLain, Todd Terry and Lara Silva, among others. Alex Kendrick also appears in the cast.
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The decision to remake “Flywheel” is part of a larger effort to support international Christian filmmakers. During the promotional tour for their previous film, “The Forge,” which opened No. 1 in Brazil ahead of major studio releases, the Kendricks met pastors, church leaders and filmmakers who wanted more locally rooted, faith-driven movies. The brothers decided to use their resources to help make that happen.
It’s a fitting full-circle moment. The Kendricks initially found success because many American white evangelical Christians felt Hollywood wasn't representing their values or experiences. Yet the brothers never treated representation as something that had to be limited to their own community. Their 2015 hit “War Room,” for example, featured a predominantly Black cast and became a box-office No. 1. They also mentored the Erwin Brothers, who went on to make “I Can Only Imagine.”
As remakes go, “Ignition of the Soul” is remarkably faithful to its predecessor. The story and much of the dialogue are nearly identical, so the strengths and weaknesses largely carry over. The Brazilian setting makes little difference to the narrative, but the production values have improved considerably. The original “Flywheel” looked like a glorified home movie. Its remake has more professional cinematography and equipment.
Ironically, the acting is sometimes weaker. The original performances had a raw sincerity, even when they were unpolished. Alex Kendrick's portrayal of Noah had a folksy charm that felt genuine. In the remake, the performances are more polished but often bland. A particularly funny moment in the original, when Noah realizes a pastor is extending him the same grace Noah previously denied him, becomes a comparatively stiff, scripted exchange in the remake.
Watching the film also renewed my appreciation for what the Kendrick Brothers accomplished. “Flywheel” tells a modest, relatable story about a basically decent man who prioritizes providing for his family over being a good husband, father and businessman. His wife and mentor challenge him, and he begins making better choices in obedience to God. That struggle is recognizable to ordinary Christians: How do you remain faithful when the pressures of everyday life seem to demand otherwise?
As Terry Lindvall explained in “Sanctuary Cinema,” Hollywood’s portrayal of faith has historically suffered from a divide: Filmmakers often lacked religious experience, while Christians lacked the filmmaking skills to tell their own stories. The faith-based film industry helped bridge that divide, giving Christians a consistent voice in American cinema.
Those films also reflected the traditions of the communities producing them. The Kendrick Brothers’ movies often function like sermons, with stories building toward a character delivering a direct spiritual message. That structure reflects the centrality of preaching in Baptist and nondenominational evangelical churches. Catholic films, by contrast, often place greater emphasis on imagery, ritual and the visual traditions of the faith.
But the Kendricks' contribution to representation doesn't excuse their filmmaking shortcomings. The writing remains clunky, with characters delivering dialogue that sounds more like miniature sermons than natural conversation. The acting is often bland, and the cinematography, though improved, still lacks imagination. After all these years and numerous films, the brothers haven't meaningfully addressed some of their most basic weaknesses.
The theology also deserves scrutiny. Their films have frequently been criticized for suggesting that trusting God will lead to worldly success, a message associated with prosperity gospel theology. “Ignition of the Soul” reinforces that impression when Noah's willingness to risk his business for his faith ultimately leads to unexpected financial success. His wife then quotes Psalm 37:4: “Take delight in the Lord, and he will give you the desires of your heart.”
The moment feels authentic to Christian family life, but the application risks suggesting that God guarantees believers their dreams if they remain faithful. History, particularly the history of Christian martyrdom, demonstrates otherwise. Sometimes faithfulness means surrendering the very things we desire. This theology would become a recurring feature of faith-based cinema, from “Facing the Giants” to “American Underdog.”
“Flywheel: Ignition of the Soul” celebrates the Kendrick Brothers' commitment to sharing their faith and helping Christians around the world tell their own stories. But it also offers a sobering reminder of how much more influential their work might have been had they devoted as much attention to the craft of filmmaking as they did to their message.
Joseph Holmes is an award-nominated filmmaker and culture critic living in New York. He is co-host of the podcast “The Overthinkers” and its companion website theoverthinkersjournal.world, where he discusses art, culture and faith with his fellow overthinkers. His other work and contact info can be found at josephholmesstudios.com.