‘The Carpenter’s Son’ Review – A Hollow Parable Of Faith And Fear

In theory, The Carpenter’s Son sounds like a daring and original experiment: a supernatural reimagining of Jesus’ early life, blending religious mythology with horror. Inspired by “Infancy Gospel of Thomas,” the film attempts to be both provocative and profound, an exploration of faith, temptation, and the moral anxieties of raising a child destined for greatness. But in practice, Lotfy Nathan’s film feels undercooked. Despite its premise and some stunning moments of visual symbolism, the execution is disappointingly shallow, as though the script never moved beyond a promising first draft.

Set in a remote Egyptian village during the Roman era, the film follows Joseph (Nicolas Cage), Mary (FKA twigs), and their teenage son Jesus (Noah Jupe) as they wander, trying to live quietly after years of persecution. When they settle briefly in a small settlement, their attempt at a normal life is derailed by a strange young girl (Isla Johnston), who forms an unsettling bond with Jesus. She tempts him with questions about his identity and destiny, sowing seeds of rebellion against Joseph’s rigid beliefs. 

The film’s opening sequence is easily its strongest. Nathan stages an almost nightmarish introduction with Jesus’ birth amidst chaos, the couple fleeing as villagers burn infants alive in a horrifying purge. It’s a visceral setup that hints at a deeply ambitious vision. The sound design here is particularly striking, with the crackle of flames and the screams of terror of anguish from crying mothers mixed with screams of pain from babies. Unfortunately, after this explosive beginning, The Carpenter’s Son struggles to maintain its intensity or thematic weight.

What follows feels like a series of loosely connected scenes rather than a fully realized story. Nathan, who both wrote and directed the film, aims for biblical allegory and psychological horror but never finds the balance between the two. The screenplay is thin, clocking in at around ninety minutes, which is far too brief for the scope of its ideas. There’s little sense of emotional buildup or narrative momentum. We’re told of Joseph’s paranoia, Mary’s faith, and Jesus’ curiosity, but we rarely feel these emotions lived out in a convincing way.

One of the film’s biggest issues lies in the performances. Nicolas Cage, who is always reliable even in eccentric roles, seems strangely subdued here. His Joseph is meant to embody a man tormented by divine responsibility, yet Cage’s delivery often feels stiff, as though he or director Lotfy Nathan is unsure how far to push the spiritual anguish. FKA twigs is severely underutilized here. She brings this quiet pain to Mary, but she’s given so little to do beyond whispering prayers and looking concerned. There is one scene where a woman tells her she looks nothing like her son, and she just…stares, and it cuts, which makes you wonder if that was intentionally funny or not. Noah Jupe, a talented young actor in other projects, struggles here. For reasons never explained, he retains his British accent, an oddly jarring choice that pulls viewers out of the historical setting. His portrayal of Jesus lacks conviction, which is a serious problem when the entire story hinges on his internal conflict between good and evil.

There are moments when Nathan’s visual storytelling shines through. The sequences where Jesus experiences visions are haunting and beautifully shot. The cinematography captures this desolation of the desert, and the sound design adds a supernatural tension. But these moments feel isolated, like glimpses of a better film hidden beneath the surface.

By the time the film reaches its climax, a confrontation between Jesus and his mysterious companion, the emotional impact has all but evaporated. The pacing feels rushed, and the ending arrives abruptly, as though the filmmakers ran out of time rather than reached a natural conclusion.

The Carpenter’s Son is a film full of striking ideas but lacking the dramatic and emotional cohesion to make them resonate. Lotfy Nathan shows flashes of real visual talent, and the atmosphere is often mesmerizing, but the writing and performances never rise to meet that potential. It’s the cinematic equivalent of an unfinished sermon, full of promise, yet ultimately hollow.

The Carpenter’s Son will debut exclusively in theaters on November 14, 2025, courtesy of Magnolia Pictures.