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The acclaimed actor is likely the ideal pick for a daring horror film focused on the biblical figure, however not for the reasons certain viewers may think. In reality, the star doesn't actually portray Jesus in the new film: his character is referred to only as a craftsman. He is framed as the Joseph within this tale, attempting to keep his beliefs as the teenage character (played by Noah Jupe), their adolescent adopted son, begins to exhibit supernatural abilities. The explanation it's challenging to envision a different major actor playing this part is that while his character is stricken with multiple challenges, the actor appears nearly moving certain that the dark, somber little movie is worth his time.

The Actor's Current Projects

Cage was using his time more carefully recently. He still stars in more movies than most average viewers will ever see — for example, are you aware that the man has completed three distinct frontier films over the last few years? — yet he also adds prestige independent films such as one recent hit, Pig, and Longlegs. The Carpenter’s Son appears to be one of those, in that it’s not strictly scary, potentially provocative, and approaches a over-the-top premise with gravity.

Movie's Plot and Execution

Sadly, writer-director the director fails to repay that serious attention. The Carpenter’s Son opens in a compellingly nomadic setting, presented as drawing from an unknown scripture concerning Christ’s childhood. Cage's character, The Mother, and their child travel frequently, fearful of religious persecution or doubt over The Boy’s mysterious gifts. “Trouble pursues us,” The Carpenter mournfully notes. It goes on when evil influences attack the family at their new home, getting a jump-start on that well-known scriptural test for The Boy.

At times, the film echoes an demonic possession-type possession movie, though no one of the central roles are explicitly taken over. Rather, they are progressively isolated from each other, when these powers infect a resident female (Isla Johnston, credited as “The Stranger”) who the son bonds with, and provides each character troubling visions of a bleak destiny. Cage's role especially grapples with his position in this story, at times chastising the boy he doesn't completely grasp.

Controversy and Sensitivity

The content is likely to stir disagreement, and the director approaches it with plenty of delicacy — excessive, possibly. The concept of a adolescent confronted with his eventual sacrifice and tempted by unknown powers is truly terrifying, but the filmmaker might be wary of appearing sensational and keen to indicate his aims, therefore he regularly falls back on dimly foreboding visuals. Characters continually reflect — the singer-actress, who displayed notable talent in a recent film update, surprisingly — surrenders her acting to her character's costume, sometimes broken up by some gnarly horror imagery.

Cage's Performance and Film's Weaknesses

At the same time, the actor dabbles in precisely the type of exaggerated performance that those who enjoy his campier roles might be looking for. An instance (shown) in the trailer in which he erupts and shouts “My belief is broken!” If that kind of theatrical release is included in your Jesus-themed horror movie, possibly a more brazenly silly style would make better use of his eagerness to exaggerate as required. Rather, the film more closely resembles the weaker straight-to-DVD productions Cage made through much of the 2010s — excluding the campy action films but rather the dramas and paranormal movies that often seem intriguing, and usually have several notable Cage moments, but in the end seem like, indeed, low-budget DTV material.

Frankly, several of these, although simpler, were more entertaining as a whole. At this point I must violate my usual practice, not faith-based but career-related: Previously, a respected mentor persuaded me to banish descriptive terms like “tedious” or “uninteresting” from my reviewing language. These words communicate minimal but a subjective and generically described impatience, withdrawing from the duty of vibrantly communicating the thoughtful and emotional experience of seeing a particular movie. It’s difficult to communicate tedium without seeming uninteresting oneself. It's just as unclear as calling a movie “notable.” “Elaborate,” that is.

Yet, I acknowledge, I grew weary throughout The Carpenter’s Son. In its defense, it is a religious style of boredom, not for The Carpenter’s Son is preachy, but as it requires a sort of patient acceptance to sit through it. After a while early on, the movie locks into a cyclic tempo of ongoing suffering, and does not