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DIRECTED BY: Lotfy Nathan
FEATURING: Noah Jupe, Nicolas Cage, FKA Twigs, Isla Johnson
PLOT: A Jewish teenage boy, the son of a carpenter, is tempted by a Stranger to use his innate powers for evil.
COMMENTS: Mary and Jesus speak like they’re ordering high tea at the Goring hotel, Joseph raps in a California accent, the locals talk like Greeks pretending they’re Egyptians, and I swear one esteemed rabbi is Scottish. Inconsistent accents are not always a death knell for historical movies. There are numerous classics where the cast eschews their natural tongues to speak English (e.g. Schindler’s List), others where one or two characters can be forgiven for mangling a difficult accent (e.g. Braveheart), and even a few where they purposefully ignore proper dialects (e.g., The Death of Stalin). But those are movies whose greatness overcomes their anachronisms; when your movie isn’t great, or anywhere close to it, that kind of lack of attention to detail can become emblematic of what’s wrong with the work.
The Carpenter’s Son is a historical horror drama set during Jesus’ teenage years, an era the Gospels skipped over as too boring. It revolves as much, if not more, around Nicolas Cage’s carpenter than it does his moody teen son. Joseph (he’s never named Joseph in the film, despite the character being firmly public domain by now) narrates and struggles with doubts over whether his son is who his wife says he is, and, once it appears that the boy has magical powers, whether he’s a force for good or evil. In the meantime, he lays down strict rules for his stepson’s own good. No one is to know who they are while the trio is hiding out (for pseudo-Biblical reasons) in Egypt. Mary (i.e. “the mother”) does little of anything. “Jesus” (credited as “the boy”) acts like a typical teenager, basically a good egg, but taken to occasional impertinence and rebelliousness, and even a bit of peeping at his bathing neighbor. Oh, and he accidentally heals lepers when a playmate shoves him into them, so there’s that. And he has a real case to scream “you’re not my real Father!” at Nicolas Cage, but he mostly avoids that temptation. Plus, he fights demons!
But despite all this meaty material, the script provides no suspense or tension. Jesus’ temptation by Lucifer was already covered more profoundly and succinctly in both the Canonical Gospels and in a far greater film; this story is therefore not only predictable, but redundant. Satan’s initial attempts at seduction are pretty lame: she mostly tempts Jesus to use his powers for good, then gives him a peek at eternal damnation, which pretty much turns him off to the whole Universal Evil thing. The plan of acting kind of like a dick to get the messiah to abandon the world’s salvation doesn’t work out, but Satan will learn from this failure and give it a better shot in 15 years.
Cage monotones his way through his monologues, briefly erupting into periodic patented “Cage rage” rants to earn his paycheck before slipping back into a doze. As meek Mary, out-of-her-depths pop star FKA Twigs follows her screen hubby’s lead, looking lost most of the time while conserving her emotion for the one or two chances she gets to raise her voice. The two younger actors, Jupe and Johnson, fare better, but the script gives them so little to work with that they make only a slight impression. There are a few nifty if frustratingly brief visions of Hell and stuff near the end—if you can stay awake that long, and can make them out through the underlit and murky lensing.
The Carpenter’s Son was “inspired by” the apocryphal Infancy Gospel of Thomas. That narrative was a fascinating imagination of Jesus’ childhood, where the future savior acts like a bit of a brat, killing classmates for slights (don’t freak out, he later resurrects them) and performing odd rites like creating clay birds and bringing them to life. That script would make for a potentially great, wild movie. But The Carpenter’s Son is too reverential and chickens out from making that gonzo adaptation; what should be a bold provocation is instead an assemble-as-directed horror film, with a depressingly literal and violent good vs. evil showdown and only a surface-level examination of theology or the burden of messiahdom. Christians wary of a blasphemous Jesus horror film need not fear this mediocrity; worshipers at the altar of cinema, on the other hand, may call it sacrilege. Frankly, I’d rather get a splinter than watch The Carpenter’s Son again.
WHAT THE CRITICS SAY:
(This movie was nominated for review by “Sal U. Lloyd,” who said it was “Theologically unorthodox, with influences from Begotten and the African flashbacks in Boorman’s Exorcist Ii: The Heretic.” Suggest a weird movie of your own here.)
