There are a couple important points that may lead you toward a reasonable understanding of what to expect from the latest film from Pinnacle Peak Pictures, the studio that brought us The Case for Christ and God's Not Dead.
The very first thing I noticed is that Jamie Ward (television's His Dark Materials), the actor who portrays Jesus here, doesn't, in fact, receive top billing. Depending upon where you look, that's either James Oliver Wheatley (Peter in the film) or Robert Knepper, likely the best known actor in the film and yet, somewhat oddly, the actor who portrays Judas.
Weird choice.
The other thing to note is that co-writer/director Mauro Borrelli's most positively reviewed film is 2022's WarHunt, a film that currently sits at 20% on the Tomatometer (though, in fairness, it sits at a much more impressive 85% with audiences).
Truthfully, I'm not sure either of my points truly matter in the scheme of things. However, I couldn't help but think about both as I sat through this nearly two-hour retelling of, you guessed it, The Last Supper including events leading up to it and those events that will follow it.
My guess is there isn't a Christian alive who doesn't know the story of The Last Supper, though your biblical knowledge may help determine your appreciation for this film and your awareness of in what places Borrelli's film deviates from biblical accounts and fairly well-established biblical history may also become a factor in your willingness to surrender to a film that occasionally impresses visually but never hits a note of emotional resonance beyond the inherent power of the story itself.
The Last Supper's problems don't necessarily begin with Jamie Ward's miscasting as Jesus Christ, though they sure are amplified by it. In a film where hushed tones and whispered lines are meant to capture the gravitas of conflict, betrayal,and Jesus's teachings, Ward too often plays Jesus like a 1980's teen idol whose mere glance can set the girls and the guys swooning. I've liked Ward's work before, he's a talented actor, but he's simply not able to transcend Borrelli and co-writer John Collins's awkward dialogue and an atmosphere that may be pretty to look out but doesn't hit a note of authenticity despite the film's being shot in Morocco.
The PG-13 rated film at times feels cartoonish, though it's finest moments are in its more action-targeted sequences and when the power of the real text comes to life in ways big and small. Knepper's performance fares a bit better, though Knepper's hurt by some narrative choices and the addition of some cosplay Christians and scenes that add very little.
I'm aware, of course, that there will be those who appreciate The Last Supper just as there were those who loved God's Not Dead, which I didn't, and The Case for Christ, which did rather impress me. The film is executive produced by noted Christian entertainer Chris Tomlin, a relationship that should help The Last Supper reach a wider audience when it opens on March 14th and likely become Borrelli's most successful film to date.
Will it top 20% on Rotten Tomatoes? That remains to be seen.
Among the film's supporting players, Nathalie Rapti Gomez particularly impresses as Mary Magdalene and Daniel Fathers does some nice work as Joseph of Arimathea, though both are relative bit players for the most part.
As a longtime film journalist and also a person of faith, it's always more than a little disappointing when I come across a faith-based film that simply doesn't work. Beyond the inevitable hate mail, the truth is it's been exciting to watch the growth, critically and in terms of box-office, of the faith-based film industry and it's disappointing when a clunker comes along that tries so hard and yet simply misses the mark.
With a remarkable story to tell, The Last Supper misses the mark with flawed storytelling, a lack of emotional resonance, and performances that simply never come to life, this is a faith-based film you can give up for Lent.
Written by Richard Propes
The Independent Critic
