There's not much original, but there's something lovely about "Pastor Brown" (8 tonight, Lifetime), a film about a prodigal daughter challenged to find her way home.

When we first meet Jesse (Salli Richardson-Whitfield), she's pole dancing at a club in New York. Meanwhile, in her hometown of Atlanta, her pastor father (Keith David) collapses in the pulpit; soon Jesse's sister (Nicole Ari Parker) is calling for her to come home to be by daddy's bedside.

It's not a pleasant homecoming. Everyone knows Jesse isn't the Broadway dancer she claims to be. Her sister is resentful that she's been left at home to be dutiful and that, despite being dutiful, dad seems to like Jesse better. Plus she's been left to raise Jesse's son (Michael B. Jordan), who also has a chip on his shoulder just for Jesse for abandoning him.

Dad calls a bedside meeting, unexpectedly (and inexplicably) says he wants Jesse to take over for him as head of his church, and promptly dies. Almost no one is happy about this decision, but especially Rev. Callaghan (Michael Beach), an assistant pastor who has been waiting to take the main job, and his cousin Angelique (Tasha Smith), who has some unexplained ancient resentment toward Jesse. Even Jesse is skeptical, but after some thought, she decides to go for the job.

This, of course, is a story of redemption, and one of forgiveness, and it isn't just Jesse who needs forgiveness or redemption. For a bunch of church-goers, there's lots of bad behavior on display here.

But it works because the cast is strong. Richardson-Whitfield is just a wonderful actress; her Jesse is strong and vulnerable. She knows she's made bad decisions but she always owns them and Richardson-Whitfield imbues her with a quiet confidence and grace that makes her transition from troubled girl to enlightened woman seem plausible. Beach manages to bring layers to his unlikeable character that aren't necessarily in the script.

And the script does have lapses. Jesse and her son's relationship shifts course abruptly, a character played by first-time director/actor Rockmond Dunbar doesn't really have a place, but I'll give points for not going with the obvious ending.

Unlike other films that center in the church, this film isn't particularly preachy, although at least one message is clear: Father/heavenly Father knows best.

It's not a diss to call "Belle's" (10 p.m. TV One), an old-fashioned sitcom; it's just accurate. The half-hour show (you'll get two episodes tonight) feels like something from a simpler era. It's a quaint, gentle and mildly amusing outing.

By its description, you might (if you are old enough) think of "Frank's Place," the much-revered Tim Reid comedy. Like that show, "Belle's" is set in restaurant (that setting and the lack of a laugh track is where the "Frank's Place" comparison ends, sadly); it's a soul food place. William "Big Bill" Cooper (Keith David) is the owner. He's a fairly recent widower. It's a family operation: Jil (Elise Neal) is Bill's oldest daughter and runs the front of the house; Gladys (Ella Joyce) is his sister-in-law and head cook; Loreta (Tami Roman) is Bill's youngest and diva daughter; Pam (Nadja Alaya) is Jil's daughter and the show's narrator. Also in on the adventures is Maurice (Belle's exec producer/co-creator Miguel Nunez), a womanizing bartender.

Unfortunately "Belle's" looks like it's filmed on a set rather than in a restaurant, and that artificial feeling just adds to the sinking feeling you'll have when you realize, despite the capable cast, the show isn't as good as you were hoping. The first episode was kind of interesting in light of the debate around slavery sparked by "Django Unchained." A white man wants to rent the restaurant for a family reunion; as it turns out, his family is the one that enslaved Cooper's wife's family. The Belle's family is divided with some wanting to take the well-paying business and others arguing to turn it away in an act of ... well, something I don't know.

That's part of the problem; while the issue resonates, the debate doesn't really make sense. And as if recognizing that, the resolution is kind of sweet and milquetoast.

Ed. Weinberger, a TV legend behind "The Cosby Show" and "Taxi," is behind this show, which is not a bad pedigree. Maybe with that kind of experienced hand, "Belle's" gets sharper as it moves forward. Gentleness isn't bad in these snarky, cranky times; it may even be healthy. But there's got to sharp storytelling if there's not going to be sharp comedy. "Belle's" is lacking in both areas.