The Carpenter’s Son Review: I walked into The Carpenter’s Son hoping for something wild, maybe The Omen meets The Last Temptation of Christ, but what I got felt more like an overly long MTV drama about teenage Jesus having an identity crisis. Directed by Lotfy Nathan (yep, the same guy who made 12 O’Clock Boys and Harka), this one had all the ingredients for something bold. Unfortunately, it just never figures out what story it wants to tell.
Magnolia Pictures is putting this one out on November 14, 2025, and I can already tell it’s going to stir up some debates, not because it’s blasphemous, but because it’s surprisingly… dull.
My Rating: 1.5/5
| Category | Details |
|---|---|
| Title | The Carpenter’s Son |
| Release Date | November 14, 2025 |
| Director | Lotfy Nathan |
| Writer | Lotfy Nathan |
| Genre | Biblical Drama / Psychological Fantasy |
| Language | English |
| Country | USA / Greece |
| Runtime | 1h 34m |
| Cast | Nicolas Cage (Joseph), FKA Twigs (Mary), Noah Jupe (Jesus), Isla Johnston (Lucifer) |
| Based On | The apocryphal Infancy Gospel of Thomas |
The Setup
The story follows a family hiding out in Roman Egypt, though the movie never directly says “Mary, Joseph, and Jesus,” it’s painfully obvious that’s who they are. Nicolas Cage plays the grumpy carpenter dad, FKA Twigs plays Mary (with the energy of someone who’d rather be anywhere else), and Noah Jupe plays the moody teen son, a young Jesus coming to terms with his strange powers.
At its core, this is supposed to be a reimagining of the Infancy Gospel of Thomas, an apocryphal story about Jesus as a child learning how to control his powers. That idea alone could’ve been fascinating. The problem? It’s treated with the energy of a half-awake arthouse student film.
The Good and the Bad
| What Works | What Doesn’t |
|---|---|
| Cinematography by Simone Boifin (Anatomy of a Fall) gives the film a moody, shadowy texture that’s gorgeous to look at — even when nothing’s happening. | The pacing is brutal. For a movie about divine chaos, it’s shockingly lifeless. Long stretches feel like waiting for something that never arrives. |
| Noah Jupe actually sells the confusion of a kid with godlike powers. You can see the pain in his face, and he brings some grounding to this mess. | Nicolas Cage gives one of his driest, least interesting performances in years. That wig alone deserves its own Razzie nomination. |
| The idea of Lucifer appearing as a teenage girl (played by Isla Johnston) is genuinely intriguing — a twisted temptation dynamic. | But their scenes together feel aimless. What should’ve been dark and seductive comes off like an awkward high school skit. |
| The biblical horror angle could’ve been provocative. There are flashes of something special. | FKA Twigs looks completely checked out. No life behind her eyes, no chemistry with Cage, nothing. |
| Bold concept: a “teen Jesus versus the Devil” story could’ve been cinematic gold. | Execution kills it. Every interesting idea is flattened by the slow script and uneven tone. |
What It Feels Like Watching It
Imagine if The Passion of the Christ and Carrie had a baby, but it was raised on low-budget A24 knockoffs. That’s The Carpenter’s Son.
There’s one scene where Jesus (Jupe) literally mud-wrestles Lucifer while Nicolas Cage dies in the background, holding a twig, whispering, “Forgive it.” It should be epic or emotional. Instead, it plays out like a high school stage version of The Matrix.
The most frustrating part is how close the movie gets to being something powerful. You can see the ambition, the visual language, the score, and the hints of mythic symbolism. But it’s like Nathan was afraid to really commit. If you’re going to tackle Jesus, the Devil, and the origins of good and evil, you can’t play it safe.
Also Read: The Running Man Review: Edgar Wright’s Slowest Movie Yet—What Went Wrong?
Performances in The Carpenter’s Son
- Nicolas Cage: loud, erratic, and weirdly restrained at the same time. Feels like he’s been told to tone down his “Cage-ness,” and that’s a crime in itself.
- FKA Twigs: beautiful presence, zero emotion. Looks like she’s in a perfume ad that never ends.
- Noah Jupe: easily the heart of the film. He carries the entire emotional weight.
- Isla Johnston (Lucifer): a strong choice that doesn’t quite land; she’s mysterious but not menacing.
Final Thoughts
I respect Lotfy Nathan for trying something risky. A reimagined gospel story told through the lens of horror could’ve been unforgettable. But The Carpenter’s Son never finds its voice. It’s more boring than blasphemous, a movie too scared to embrace its own heresy.
I left the theater thinking about what could’ve been, The Omen-style psychological horror, or maybe a full-on Cage meltdown in the desert. Instead, I got a slow, muddy fable with beautiful lighting and no soul.
My Rating: ★★☆☆☆ (1.5/5)
Visually strong, thematically weak, and emotionally flat. Not holy, not hellish, just hollow.
