Earlier this week, Tim Tebow continued his seemingly divine inspiration by leading the Denver Broncos to a dramatic overtime win against the Pittsburgh Steelers.

Meanwhile, this weekend Oscar nominees, Queen Latifah and Dolly Parton, will be hoping for a heavenly box office return for their gospel drama, “A Joyful Noise.”

Lending their acting and singing talents to writer/director Todd Graff’s feel good tale, the two play strong-willed women of small town, Pacashau, Georgia choir that dreams of competing for the National Joyful Noise title in Los Angeles.

However, Vi Rose Hill (Latifah) and G. G. Sparrow (Parton) differ on their approaches; Hill wants to stick to a tried and tested traditional style, while Sparrow insists that a bit of jazzy modernization is called for.

As it turns out, Sparrow is the widow of the band’s choirmaster (Kris Kristofferson), who succumbs to a heart attack in the opening minutes.

She is a bit miffed that the church board — led by Pastor Dale (Courtney B. Vance) — appoints Hill as the choir leader, especially as she controls its purse strings.

Adding to their discord is a sort of “American Idol” meets “Footloose” backbeat: Sparrow’s rebellious grandson, Randy (Jeremy Jordan), breezes into town right into the gilded arms of Hill’s sweet, responsible daughter, Olivia (Keke Palmer).

From a dramatic point of view, the film curiously veers from saccharine Americana — life lessons and hugging — to some raw intensity, particularly in a scene where Olivia disrespects her mother and is rebuked with a forceful slap across the face.

Palmer (who has grown up before our eyes ever since she starred in 2006’s “Akeelah and the Bee”) and Jordan more than hold their own in the musical numbers with their illustrious co-stars.

Palmer’s vocal power is especially impressive in a cover of Michael Jackson’s “Man in the Mirror.”

Plus, there’s a touching performance by young actor Dexter Darden, who plays Hill’s autistic son, Walter.

In what has become Hollywood’s go to disorder, he suffers from Asperger’s syndrome.

Channeling Stevie Wonder with his dark glasses and bobbing head, Walter’s repetitive, high-functioning behavior includes being able to name every one-hit wonder that ever charted.

But to his credit, Graff also adds a touch of biting wit — first with one of the Black female singers who thinks she is going to be cursed romantically after she sleeps with an Asian choir member and he unfortunately expires.

Then, building up the tension between Hill and Sparrow that culminates in a physical fight in a restaurant after the two have traded barbs about Parton’s real life plastic surgery obsession and Latifah’s expanded girth.

Apart from its built-in church audience, the film may also resonate with movie goers who are familiar with the real life gospel competitions that pit choirs from all over the country against each other — often culminating in finales at large arenas that normally host tens of thousands of NBA fans.

Gospel icon Kirk Franklin has a cameo as the choir leader of Pacashau’s perennial nemesis, who are somewhat conveniently disqualified in the heats for fielding professional singers.

Recalling his inspiration of the real gospel competitions, Graff said: “They have become enormous over the past decade or so. I went to one in Newark, New Jersey that was sold out — 18,000 seats. They sell out the Staples Center. Choirs perform from all over the country — big choirs, small choirs, praise dancers. These things are a huge deal.”