The Young Messiah (PG-13)
26/03/16 01:37 Filed in: 2016
Starring: Adam Greaves-Neal
March 2016
The below comments (in Black) were originally tweeted in Real-time from the back row of a movie theater and appear @BackRoweReviews. Though efforts were made to tease rather than ruin this movie’s memorable lines and moments, some spoilers may exist in the following evaluation (in Red). For concerns over objectionable content, please first refer to one of the many parental movie guide websites. All ratings are based on a four star system. Happy reading!
How to draw a camel in the sand.
Death by apple.
Early miracle. #BirdResurrection
“Cavemen in Britain.” Was Britain even around back then?
“Destined to wander.” Israel has a history of wandering.
“How do you explain God to his own son?” #Dilemma
“Next time there will be no mercy.” True. #Crucifixion
Dreams run in the family. Keen observation.
“The boy must die.” Good luck with that...he dies at 33.
“He is not just a child.” Amen.
A glimpse of the future. #CrucifixionRoad
“The Romans fear the young.” With good reason.
“I like this child.” Me too.
The #AngelChild tells #Satan to keep his hands to himself.
Don’t say the word rain around #Jesus or it’ll start raining.
“She’s just a woman.” Show more respect for Mary.
Romans in the temple. Oh my!
“God is your father.” A big question is answered for #Jesus.
Final analysis: a unique telling of #Jesus’ early years with some beautiful locations and a solid cast.
Rating: 2 1/2 out of 4. Perfect casting of the central role infuses the film with joy and compassion.
A host of films have focused on the life of Jesus, and the vast majority of those have included the same basic story elements, i.e.,: his birth, ministry, crucifixion, resurrection, ascension, etc. Since the entire film focuses on the titular savior at age seven (even though the temple scene actually took place when he was twelve), The Young Messiah is an exception to the typical theological presentation. But with little to no Biblical backing for many of the events in the film, what Messiah gains in originality it loses in authenticity. Taking its cue from the recent Roman soldier spotlight film Risen, Messiah applies the 80/20 Rule to its narrative structure, with 80% of the story extrapolated from recorded history and dramatized for a mass audience and only 20% coming directly from passages in the Bible. The most noticeable deviation from the holy text is when young Jesus (Adam Greaves-Neal) performs miracles while he’s a boy living in Egypt. There’s no scriptural support for this plot point, and to the contrary, the Bible records Jesus’ first miracle at the wedding in Cana (John 2:1-11) when he was thirty. Be that as it may, the young lad having to conceal or constrain his supernatural powers is an interesting plot point that’s analogous to many comic book yarns where the hero tries to hide his abilities in order to blend in with the general populace (Superman being chief among these archetypes since, as many have noted, the Man of Steel’s messianic origin story and miracle working abilities directly parallel Christ’s). However non-canonical this subplot is, it does create tension and intrigue, especially in the early passages of the film (although I could’ve done without the gimmicky bird resuscitation scene). Also, like in Risen, Messiah features several new story elements that work quite well, including: Sean Bean as Roman centurion Severus, a conflicted soldier who is tasked with killing the young healer, and the Spartacus (1960) style Roman road flanked with crucified Jews. I was hoping that young Jesus would look up and knowingly stare at a cross…a foreshadowing of his impending demise. But alas, this is just one of many examples in the film of how an opportunity to create art was passed over (pun intended), which might speak to a lack of vision on the part of director Cyrus Nowrasteh or a shortage of shekels which shackled the production. All is not lost artistically though, since there’s a really nice aerial shot of Jesus’ family traversing the serpentine road lined with crosses at the end of the sequence. Despite period appropriate costumes and a handful of decent location shots, the film has a decidedly cash-strapped appearance. Sometimes acting can help elevate a budget-challenged picture (like Ben Kingsley in Walking with the Enemy), but such is not the case here. Other than Greaves-Neal, Bean and Sara Lazzaro (who plays Jesus’ mother, Mary), the rest of the cast members deliver par or subpar performances. All things considered, this was a valiant attempt at focusing on a brief chapter in Christ’s early years, but the writing, acting, directing and overall production didn’t support its vision or potential. Ironically, Messiah will go down as just another average Bible film that failed to inspire its audience.