Christianity Today

He also adds that there's "a tension of sorts in Mike Rich's screenplay, which oscillates between the need to be faithful to the biblical text, on the one hand, and the freedom to create dramatically compelling characters and scenes, on the other. While Rich trims out some of the dialogue that appears in the Bible, the parts that he keeps are presented almost exactly as written, yet these sections of the film—especially the Annunciation and the restoration of speech to Zechariah—feel rushed and anticlimactic, and are never quite woven into the rest of the drama."

He concludes, "For all the talk of 'realism' and 'authenticity' that has surrounded this film, it is still very much a family-friendly Christmas pageant, a Christmas crè che brought to theatrical life."

Steven D. Greydanus (Decent Films) is impressed with scenes that develop "the human dimension of what the terse biblical narratives merely imply … . The tender relationship between young Mary and the older Elizabeth … is touchingly drawn, and the public shame and scandal faced by Mary returning to Nazareth, and by Joseph if he stands by her, is vividly portrayed. … Further enhancing the realism is doubtless the most non-Caucasian cast in Hollywood Bible movie history."

Greydanus is especially impressed with Oscar Isaac's performance as Joseph, saying his "sensitive, compelling performance gives depth and humanity to the relatively obscure figure St. Matthew describes simply as 'a righteous man.'" He says the film's faults "tend to be of omission rather than commission," but predicts it will be a family favorite for years to come.

David DiCerto (Catholic News Service) says "Hollywood finally gets it right with The Nativity Story. It's an] artful, reverent and deeply affecting retelling. … The film's hopeful message should resonate beyond Christian audiences to a world still groaning for peace and good will."

Frederica Matthewes-Green (Frederica.com, originally at Beliefnet), says, "If you thought Hollywood was incapable of approaching Christians without a cattle prod, you'll be shocked at how circumspect this movie is. … There is nothing in this film to offend devout Christians (parents note, however, a PG rating for some glimpses of crucifixion)—but solemnity rolls through it all like molasses."

Matthewes-Green is especially disappointed in Keisha Castle-Hughes as Mary. "[S]he just seems disengaged. Some astounding and even terrifying things are happening to Mary, but Castle-Hughes looks like her mind is somewhere else." But she has higher praise for Oscar Isaac as Joseph and Terry Russof as an insightful shepherd.

Steven Isaac (Plugged In) says, "Straightforward. That's perhaps the best word to describe The Nativity Story. Sweet and respectful work, too. But never grand or ambitious, as fans of biblical epics might wish for. A few too many British-leaning accents, a few too few visual effects and a script that serves its purpose well but doesn't burst into color onscreen all conspire to push the film into that 'just another Bible movie' category. … They almost succeed. But not quite."

Matt Page (Bible Films), calling the film "more good than bad," says, "[D]espite its uniqueness, it can't quite decide what kind of bible film it wants to be. The title suggests a mythic retelling, perhaps aimed at the family, yet the early scenes have a gritty, realistic feel to them. Later on though the film morphs into a sort of road movie. … Then it changes gear yet again once the holy couple reaches Bethlehem. The last remaining vestiges of realism are swiftly ditched and out comes a touch of the Christmas magic. … It's not that there is anything particularly wrong with any of these different styles; it just leads to a very uneven film."

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