Nicolas Cage's Jesus-Themed Thriller Film Is Less Extreme as It Sounds

The acclaimed actor could be the ideal choice for a audacious horror film centered on Jesus Christ, though not for the reasons many audiences may think. Actually, the star doesn't actually act as Jesus in the new film: his character is referred to merely as a craftsman. The actor is cast as the Joseph of this story, working to maintain his religious convictions as The Boy (acted by the young actor), their now-teenage foster child, commences to show divine powers. The reason it’s difficult to picture any other prominent performer in this role is that while the role is burdened with multiple trials, Cage himself seems nearly moving certain that this dark, somber small film is deserving of his effort.

Cage's Current Projects

Nicolas Cage was allocating his time more selectively lately. He still does additional projects than most average viewers could possibly view — for instance, did you know that the man has filmed a trio of different frontier films over the last few years? — however he also includes esteemed critically acclaimed roles for example Dream Scenario, another notable movie, and a further title. The Carpenter’s Son sounds like in that category, in that it’s not strictly scary, likely to stir debate, and approaches a over-the-top description in a earnest manner.

The Film's Plot and Direction

Unfortunately, filmmaker the director does not justify that serious attention. The film begins with a engagingly rootless context, positioned as drawing from an obscure religious text regarding Christ’s childhood. The Carpenter, The Mother, and their child travel frequently, anxious of doctrinal intolerance or distrust over their son's mysterious gifts. “Calamity follows us,” The Carpenter mournfully notes. That continues when sinister entities focus on the family in their latest settlement, initiating on the traditional religious challenge for The Boy.

Sometimes, the film resembles an demonic possession-type supernatural thriller, though none of the central roles are directly possessed. Rather, they become more and more distant from each other, as these forces infect a nearby girl (the actress, named “The Stranger”) that the son forms a relationship with, and presents all unsettling premonitions of a grim future. The Carpenter especially fights with his position within the plot, at times chastising the boy who mystifies him.

Controversy and Sensitivity

The subject matter is apt to stir disagreement, and Nathan handles it with a lot of sensitivity — too much, possibly. The concept of a teenage boy dealing with his eventual sacrifice and tempted by mysterious forces is indeed frightening, but Nathan may be wary of appearing sensational and anxious to indicate his goals, therefore he regularly retreats into gloomily threatening visuals. The roles brood incessantly — FKA Twigs, who demonstrated genuine potential in a recent film update, surprisingly — yields her role to her religious attire, at times punctuated by some gnarly horror imagery.

The Star's Acting and Film's Weaknesses

Simultaneously, the actor flirts with precisely the type of exaggerated performance that those who enjoy his campier roles may desire. One scene (also included) in previews where Cage erupts and screams “My belief is broken!” When this sort of theatrical release is part of your Jesus-themed horror movie, perhaps a more boldly ridiculous approach would take better advantage of the actor's readiness to exaggerate as required. Rather, The Carpenter’s Son echoes the weaker direct-to-video productions he starred in during that period — not the cheesy thrillers instead the serious stories and supernatural thrillers that always sound promising, and often contain some select memorable scenes, but in the end seem like, frankly, cheap home video fare.

Frankly, some of those, though not as grand, were easier to view in general. Here is where I must violate my own dogma, not spiritual but career-related: Long ago, an admired senior convinced me to eliminate words like “tedious” or “uninteresting” from my reviewing language. These words communicate minimal other than a personal and vaguely expressed lack of patience, disengaging from the job of vibrantly communicating the mental and emotional experience of viewing a particular movie. It’s difficult to communicate tedium without sounding boring oneself. It's equally vague as calling a movie “engaging.” “Elaborate,” in other words.

Yet, I acknowledge, I grew weary during much of the film. To the movie’s non-exploitative credit, it is a devotional type of dullness, not due to The Carpenter’s Son is lecturing, but since it takes a sort of patient acceptance to watch it. After a while in the beginning, the film settles into a monotonous pattern of simmering anguish, and never really