The Carpenter’s Son (Christian Movie Review)
The creative decision to explore the Jesus story through the horror genre is unique, but by basing the film on apocryphal writings rather than scripture and settling for cheap religious “shock jock” scares rather than explore its more interesting theological themes, the film offers little entertainment and even less edifying insight into the Gospels.
About the Film
Jesus has arguably never been more popular at the movie theater. This year alone, there have been hit streaming shows (The Chosen), big screen movie adaptations (The Last Supper), and several animated features (King of Kings, Light of the World). Even Mel Gibson’s long-awaited The Resurrection of the Christ is on the near horizon. But just when you think you’ve seen it all, The Carpenter’s Son (starring Nicolas Cage) reimagines the Jesus story… as a horror film. When the movie’s trailers were first released, many Christians were concerned at the irreverent and potentially blasphemous direction of the film. Unfortunately, those concerns were not entirely misplaced. The creative decision to explore the Jesus story through the horror genre is unique, but by basing the film on apocryphal writings rather than scripture and settling for cheap religious “shock jock” scares rather than explore its more interesting theological themes, the film offers little entertainment and even less edifying insight into the Gospels.
The Carpenter’s Son may feature biblical characters, but it is not a bible adaptation. An opening title card reads, “The apocryphal gospels are writings by early Christians. They describe events missing in the timeline of the New Testament,” followed by the statement, “Based on the Infancy Gospel of Thomas.” Not to be mistaken with the more well know Gospel of Thomas (which inspired films like Da Vinci Code and The Book of Clarence), the Infancy Gospel of Thomas is essentially ancient Jesus fan fiction, a collection of bizarre tales from Jesus’ childhood written much later after his death. When a spiteful young Jesus uses his divine powers to murder another boy who is annoying him, it’s not hard to see why the writings were wholly rejected by the church as heretical and has never been considered part of the authoritative biblical canon.
The Carpenter’s Son acts largely as a “what if” story, exploring an alternative gospel scenario with an imperfect savior (see themes section below). Jospeh (played by Nicolas Cage) declares of Jesus, “He bears a power he cannot understand. A power I cannot contain.” In The Carpenter’s Son, Jesus is a sort of ticking time bomb, a young, confused teenage boy with the power of God who must try to find his way in the world. Thus, you have Jesus watching a naked woman bathe like a horny teenage boy or commit murder in an act of desperation to save himself. The Jesus of The Carpenter’s Son is certainly not the Jesus of scripture; he is a “chosen one” archetype more akin to a fantasy like The Wheel of Time than to the Christ of scripture.
The notion of a Jesus-centric horror film is a point of contention for Christians (and understandably so). Yet, while some Christinas remain uneasy about the genre, there are plenty of horror elements in scripture, and horror, that — when used well — can be profound and redemptive. But in The Carpenter’s Son, the horror is not used particularly well. The film is not “scary.” Rather, it seeks to unsettle viewers by its unexpected and irreverent handling of the sacred material. Most of the horror is akin to religious “shock jock” attempts. Satan is depicted as a young female, and while not particularly frightening as a character, her apparent infatuation and romantic tension with Jesus seems designed to ruffle feathers. Likewise, an opening birthing scene of Jesus, featuring pained screams, gushing blood, and a cut umbilical cord is not the peaceful manger scene found in your church’s annual Christmas pageant.
Jospeh is depicted here as a borderline abusive father who is devastated by doubt, rather than the steadfast parental figure most Christians revere him as. He cries out to God, “My faith has become a broken crutch. I beg you. How much longer must I wait to see your light again?” It is not always a flattering portrayal of Jospeh, but the raw exploration of his shaken faith is arguably the most interesting part of the movie and hints toward the potential of The Carpenter’s Son were it not constantly derailed by attempts at cheaper scares.
To its credit, this is a visually gorgeous film. The cinematography invokes a classic biblical epic despite its more intimate setting. There are even several moments of profound visual storytelling, such as in the manger, as light shines through the opened door, illuminating the shape of cross, foreshadowing the death and resurrection of Christ. Yet perhaps the clearest encapsulation of The Carpenter’s Son, is that for all its attempts at theological nuance, the story culminates in Jesus and Satan having a fist fight. The film constantly asks provocative questions but rarely has much of interest or value to say in answer to them.
In the end, The Carpenter’s Son is a unique idea without the execution to justify its bold, unorthodox direction. It attempts to subvert religious expectations and provide a fresh vantage point on the gospels, but by straying so far afield from the biblical Jesus, it ceases to have much of value to offer. It’s possible to imagine the film’s raw, horror approach applied to the actual Jesus of the Gospels (rather than fictional apocryphal writing) in an edifying way that illuminates overlooked aspects and tensions in the story. Sadly, The Carpenter’s Son is not that film.
For Consideration
On the Surface—(Profanity, Sexual content, violence, etc.).
Language: One use of “b—ard” (properly used).
Violence: Babies are murdered by being cast into a fire, and one is briefly shown burning. A demon possessed woman bites the flesh of another woman’s neck. Several people are shown being tortured and crucified. A person has their head smashed with a rock (off screen), but blood is shown on the rock and the killer’s face. A man pokes a woman’s eyes out.
Sexuality: A young Jesus looks at a naked woman bathing. She is shown at a distance, but is fully naked, seen from profile, with her breasts visible. In a vison-like sequence, many indistinct shapes that appear to be naked humans are shown crawling into a pit of hell.
Engage The Film
An Imperfect Savior is No Savior
If The Carpenter’s Son has any edifying value to Christian viewers, it is in showcasing the beauty of the true Christian Gospel in contrast to the horror of this “what if” alternative. If God is not an all-loving God, and Jesus were not a perfect, sinless savior, then the story is indeed befitting the horror genre.
The closest the film comes to being theologically profound is when Jospeh, during a moment of doubt and despair, declares to Mary, “What then if none of it were true? …. I am wrecked! My faith has been shattered! Because of you! And that boy! How can his promise be good if he sins?” It’s a worthy question. Were Jesus anything other than the perfect sacrificial lamb, what becomes of the Gospel?
The Apostle Paul explored a similar idea, “And if Christ has not been raised, your faith is futile and you are still in your sins. Then those also who have fallen asleep in Christ have perished. If in Christ we have hope in this life only, we are of all people most to be pitied” (1 Corinthians 15:17-19). Any deviation from the Gospel renders the Gospel obsolete. A Jesus who, like a common man, must battle against his sinful nature to choose goodness over evil, is a savior unable to die as a substitute for the sins of the world.
The Carpenter’s Son may not be interested in the historical or biblical Jesus, but it makes a convincing case for the superiority of the true Gospel. The Jesus of The Carpenter’s Son may ultimately choses the path of goodness over evil, but his internal struggle does not inspire much confidence in God. Thankfully, the inspired scriptures offer a more beautiful story: “But you know that he appeared so that he might take away our sins. And in him is no sin” (1 John 3:5).
