Originally published to 8 News Now on January 11, 2023.

The Book of Clarence tells the story of biblically-adjacent characters circling the life and times of Jesus, working as the “mortar” to the bricks of the scriptures, and offering a uniquely modern sensibility to one of the most known and retold historical tales ever told. It’s a daunting task; in some ways, Clarence is not up for it, while in others, it shines.

LaKeith Stanfield is a star; that much is abundantly clear. He regularly pulls off roles, like the titular Clarence in this film, with a natural charisma. There is no doubt that Clarence is Stanfield’s show. Notable praise should go to RJ Cyler, who likably portrays Clarence’s running buddy Elijah, and to James McAvoy for a small but effortless performance. Additional attention should be paid to a baffling-if-tiny performance from Benedict Cumberbatch. Viewers will be glad he was here, even if there is confusion about why.

And the “why” is The Book of Clarence’s biggest downfall. Clarence is purportedly a religious epic a la Ben-Hur, skirting around the edges of biblical tellings of Christ. However, Clarence’s story all too often mirrors that of Jesus, following the broad strokes of the gospel. Instead of a story told from the periphery,

From a tonal perspective, Clarence takes wild swings from comedy to poignant religious melodrama to social commentary. While sometimes effective, this juxtaposition often works to the film’s detriment. As a viewer, the mood swings result in a disjointed vignette-like viewing. It’s not that what is on screen lacks quality, but instead that it doesn’t blend cohesively.

However, quality is not a problem here. Aside from Stanfield’s performance, The Book of Clarence‘s strength is in its style. The needle drops, and visual storytelling is all unique to the film and bring some of the most fun and visceral moments. The visual parallels to a 1950s or ’60s epic are welcome, and filmmaker Jeymes Samuel certainly created something interesting in The Book of Clarence. “Interesting” is welcome in the current cinematic landscape, even if the film’s style overwhelms its substance by a fair bit.