Faith-based comedies can be a tricky balance. Lean too heavily into preaching and you risk losing the laughs. Lean too far into satire and you risk alienating the very audience you hope to attract. Thankfully, The Gospel of Dating manages to walk that line with warmth, humour, and a surprising amount of charm.
Directed by Khiray Richards, the 95-minute feature opens during a lively church ceremony, where Bishop Shama Gresham addresses his congregation and acknowledges the reality of COVID, while insisting that it will not stop the word of God from being spread. It is a clever way to ground the story in recent history while immediately establishing the Bishop’s determination and faith.
We then jump forward four years, where the tone shifts into something more comedic and intimate. The once-bustling church is now nearly empty, and Bishop Shama is reduced to practising sermons in front of vacant pews, with his loyal assistant LaTanya Brown attempting to provide “amens” and applause through a faulty speaker system. It is a funny yet slightly bittersweet sequence that sets up the church’s financial struggles and dwindling congregation.
Enter Angela Brown, LaTanya’s niece, played by Rachel Brooks. Angela arrives after discovering her partner has been unfaithful, and she moves in with her aunt while figuring out her next steps. One of the early comedic moments involves Angela accidentally discovering LaTanya’s vibrator, humorously named “Luther Jnr.” The misunderstanding that follows is intentionally awkward and toe-curling, but it establishes the film’s willingness to mix grown-up humour with faith-based themes without losing its identity.
As financial pressures mount, Bishop Shama confides in LaTanya that the church is drowning in bills and facing offers from developers eager to purchase the building. Just as hope appears to be fading, a production company contacts him about using the church as the setting for a new Christian dating show titled Let The Church Say Yes. The concept is simple: feature a Christian bachelorette searching for love, with the church as its backdrop. The only problem is finding the right woman to headline the show. Naturally, LaTanya suggests Angela.
The show-within-the-film becomes the primary comedic engine. Hosted by a singer named Yolanda Adams (Cheyenne Tyler Jacobs), who is very much not the Grammy-winning gospel star of the same name, the production is delightfully chaotic. Bishop Shama’s initial excitement at believing he might meet a famous celebrity quickly turns to mild disappointment when reality sets in. It is a small but amusing running joke that highlights the Bishop’s optimism.
Angela’s potential suitors range from misguided to outright ridiculous. Some are sexist, some overly self-righteous, others clearly more interested in screen time than spirituality. Bishop Shama’s strategy, however, is that by allowing the less suitable candidates to participate, their shortcomings will make the genuinely respectful contender stand out even more.
The first challenge, a basketball game, sets the tone for the absurdity of the competition. None of the contestants perform particularly well, including one man whose overbearing and slightly chaotic mother tags along. The film then briefly shifts into mockumentary territory, with characters addressing the camera in a style reminiscent of workplace comedies. It is an unexpected stylistic choice but adds an extra layer of humour.
Among the suitors, Nick (Brandon McGee) and Shane (Eddy Jay Rock) emerge as the more genuine contenders, treating Angela with kindness and allowing her to be herself. A later soccer scene further distinguishes the characters, particularly when Angela is finally allowed to participate in something she excels at.
One of the more outrageous moments arrives when Angela, nervous about filming, takes some of her aunt’s medication to calm her nerves and arrives at the show noticeably relaxed and dressed more boldly than before. It is played for laughs but also underscores Angela’s internal struggle with confidence and self-image.
As the fictional dating show gains traction, so does the church’s attendance. More people begin showing up, curious about the spectacle, and the Bishop sees a glimmer of hope for the church’s survival. Beneath the comedy, there is a clear message about adaptation, faith, and meeting people where they are rather than resisting change entirely.
The Gospel of Dating – a funny faith-based comedy
Technically, The Gospel of Dating is a solid independent production. While the budget limitations are noticeable in areas such as crowd sizes and set pieces, the framing and sound design are generally strong. The production makes smart use of available locations and keeps the focus on performance and dialogue rather than spectacle.
The acting is one of the film’s strongest assets. Michael Orlando Peters is instantly likeable as Bishop Shama Gresham, bringing warmth, sincerity, and comedic timing to the role. Rachel Brooks delivers a grounded performance as Angela, balancing vulnerability and humour. Nicole Pringle shines as LaTanya, providing both heart and comedic flair, while Cheyenne Tyler Jacobs clearly enjoys her role as the show’s host.
Director Khiray Richards demonstrates confidence behind the camera. Having previously directed projects such as Stork (2023), Plan It Out (2021), Mary (2021), The Perfect Candidate (2019), and others, Richards continues to build a portfolio that blends heartfelt storytelling with accessible humour.
At its core, The Gospel of Dating is about perseverance, faith, and finding creative solutions in difficult times. It does not aim to reinvent romantic comedies or faith-based films, but it delivers an enjoyable and uplifting experience. With strong performances, plenty of humour, and a warm message at its centre, it is easy to see this film finding an appreciative audience, particularly among viewers seeking light-hearted entertainment with heart.
It may be modest in scale, but The Gospel of Dating proves that sincerity, charm, and a few well-placed jokes can go a long way.
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