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The Actor's Jesus-Themed Horror Movie Isn't as Wild as It Sounds
Nicolas Cage could be the ideal choice for a bold scary movie centered on the biblical figure, but not for the reasons certain audiences could guess. In reality, the star does not actually play the central religious figure in the new film: the part he plays is listed only as The Carpenter. The actor is framed as the Joseph in this story, attempting to keep his religious convictions while The Boy (portrayed by the young actor), his now-teenage foster child, commences to exhibit divine powers. The reason it's hard to imagine a different major actor playing this part is that while his character grows burdened with multiple trials, Cage himself appears almost touchingly convinced that the gloomy, grim feature is deserving of his effort.
The Actor's Recent Projects
Cage was spending his time more judiciously recently. He continues to makes more films than the majority of regular audiences will ever see — for example, are you aware that the actor has filmed several different Westerns in the past three years? — yet he also includes high-profile independent films like one recent hit, another notable movie, and a further title. The Carpenter’s Son sounds like a similar project, in that it’s not strictly scary, possibly controversial, and handles a exaggerated concept with gravity.
The Film's Premise and Execution
Sadly, filmmaker Lotfy Nathan does not reward viewer engagement. The Carpenter’s Son begins with a interestingly wandering setting, presented as drawing from an obscure religious text about Christ’s childhood. Cage's character, the maternal figure, and their son travel constantly, fearful of religious persecution or suspicion regarding their son's mysterious gifts. “Trouble pursues us,” Cage gloomily remarks. That continues when evil influences attack the household in their latest settlement, getting a jump-start on that traditional religious challenge for The Boy.
At times, the movie mirrors an demonic possession-type possession movie, except that not one of the lead characters are clearly inhabited. Rather, they are more and more distant from one another, when these powers infect a resident female (the actress, named an outsider) who The Boy connects to, and presents each character unsettling premonitions of a dark tomorrow. Cage's role in particular fights with his role within the plot, sometimes scolding the son he can’t fully understand.
Controversy and Sensitivity
The subject matter is apt to invite debate, and Nathan treats it with much sensitivity — too much, possibly. The idea of a teenage boy facing his destined offering and seduced by dark influences is indeed terrifying, but Nathan could be hesitant regarding seeming gratuitous and anxious to indicate his aims, so he often retreats into dimly foreboding filming. The figures continually reflect — FKA Twigs, who showed genuine potential in the 2024 Crow remake, of all things — yields her performance to her character's costume, sometimes broken up by a few gnarly horror imagery.
The Star's Acting and Movie's Weaknesses
Meanwhile, Cage dabbles in precisely the type of melodramatic acting that his more snickering appreciators could be expecting. One scene (also included) in previews where Cage loses control and yells “I’ve lost my faith!” When this sort of dramatic explosion is a component of a Jesus-themed horror movie, possibly a more openly absurd method would take better advantage of Cage’s willingness to exaggerate if needed. Rather, the film more closely resembles the less successful straight-to-DVD productions the actor filmed through much of that period — excluding the campy action films so much as the serious stories and paranormal movies that often seem intriguing, and frequently include several notable memorable scenes, but ultimately feel like, frankly, cheap home video fare.
Frankly, several of these, although simpler, were more watchable in general. This is when I have to violate my own dogma, not religious but work-oriented: Long ago, a respected mentor persuaded me to eliminate descriptive terms like “boring” or “dull” from my analytical lexicon. Such terms express scant but a personal and generically described lack of patience, withdrawing from the duty of vividly conveying the mental and sensation of seeing an individual production. It's hard to convey tedium without seeming uninteresting yourself. It’s no more expressive as calling a movie “interesting.” “Elaborate,” in other words.
However, I admit, I grew weary during much of The Carpenter’s Son. On the positive side, it is a religious style of dullness, not because this movie is preachy, but since it takes a sort of obedient endurance to sit through it. Eventually early on, the movie locks into a repetitive rhythm of ongoing suffering, and never really
Brian Hernandez
A passionate writer and shopping enthusiast with a keen eye for quality products and lifestyle trends.
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