Prepare to be shocked, because The Carpenter’s Son is a biblical horror film so audacious—and so bizarrely misjudged—that it teeters on the edge of being a guilty pleasure. But here’s where it gets controversial: Lotfy Nathan’s supernatural thriller, starring Nicolas Cage and FKA Twigs, dares to reimagine the teenage years of Jesus Christ, drawing from the apocryphal Infancy Gospel of Thomas. The result? A film that strives for solemnity but often feels like a campy spectacle, leaving both religious audiences and horror enthusiasts scratching their heads. And this is the part most people miss: despite its flaws, it’s oddly captivating, thanks to its bold casting and Isla Johnston’s mesmerizing performance as Satan—yes, you read that right.
Set in ‘Anno Domini 15’ in Roman-era Egypt, the story follows Joseph (Cage) and Mary (Twigs) as they navigate parenthood to a 15-year-old Jesus (Noah Jupe). When Jesus befriends a mysterious stranger with haunting eyes—later revealed to be Satan—tensions rise. The stranger’s eerie invitation, ‘I play games all day. Will you play with me?’ sets the stage for a battle of faith and identity. Joseph’s desperation (‘My faith has become a broken crutch!’) and Jesus’s existential crisis (‘Tell me who my father is!’) are delivered with Cage’s signature intensity, though his presence alone feels like a wink to the audience. Here’s the kicker: Is this a sincere exploration of faith or a tongue-in-cheek genre experiment? Nathan, a Coptic Orthodox Church alum, seems to aim for the former, but the film’s tone often veers into the latter.
While Cage’s casting feels like a gamble, FKA Twigs and Noah Jupe deliver more grounded performances. However, it’s Isla Johnston who steals the show. Her portrayal of Satan is both alluring and terrifying, her eyes alone worth the price of admission. Lines like ‘I am the accuser of light… I am the adversary’ are delivered with such conviction that you can’t look away. But here’s the question: Does the film’s visual flair and ambitious premise outweigh its tonal inconsistencies? Or is it destined to become a cult classic, with midnight screenings erupting in laughter at its most outrageous moments?
With its handsome production design and committed performances, The Carpenter’s Son is a fascinating misfire. It’s not for the faint of heart—or the devout—but it’s undeniably unique. What do you think? Is this a bold reimagining or a blasphemous blunder? Let’s debate in the comments!
