Jeymes Samuel's second feature follows the misadventures of one of the thieves who ended up on the cross next to Jesus Christ himself.
When Jeymes Samuel exploded onto the scene with 2021’s bombastic all-Black western The Harder They Fall, it heralded the arrival of a fresh, intriguing perspective. Doubling down on his yen for reviving retro genres, Samuel’s subsequent proclamation takes the form of the offbeat biblical comedy, The Book of Clarence.
The opening shot cuts straight to the point with its eponymous character nailed to a cross. Music booms dramatically and Clarence (LaKeith Stanfield) stares sombrely into the camera with strong ‘You’re probably wondering how I ended up here’ energy. We jump back in time to see Clarence and his best friend Elijah (RJ Cyler) – a pair of streetwise hustlers who have just lost a Ben-Hur-like chariot race to Mary Magdalene (Teyana Taylor).
Things go from bad to worse as it transpires that Clarence is now in debt to local gangster, Jedediah the Terrible, and must pay him back or face death. Savvy as ever, Clarence notes the increasing popularity of a local man named Jesus (Nicholas Pinnock) and the rockstar-like status of his twelve disciples. He decides to garner notoriety – and thus money – by becoming the 13th Apostle. It’s a wonderfully wacky idea to explore on such a scale and Samuel attacks his premise with a heady blend of silliness and sincerity.
While comparisons to Monty Python’s The Life of Brian seem inevitable, as Clarence is also very much not the Messiah, Samuel steers away from overt mockery (the validity of Mary being a virgin at the time of her immaculate conception notwithstanding). Instead, he favours humorous caricatures such as a thoroughly unimpressed John the Baptist (David Oyelowo) bashing Clarence both verbally and physically for his disingenuous claims of spiritual conversion.
As his schemes bring him fortune, Clarence begins to wonder if he is capable of using his status to be a force for good. What Samuel explores here is engaging, yet, the scattergun approach of the comedic elements threatens to undermine any serious intent. Scenes flicker between joyful hit and bemusing miss and it feels as if the film has been thrown together in a manner that feels experimental. The script, meanwhile, is too rudimentary to match the full satirical potential of the premise.
Despite these narrative issues, Stanfield weathers the unevenness. He is a versatile actor, and his best roles, which include swaggering outlaw Cherokee Bill in The Harder They Fall, jaded telemarketer Cassius in Sorry to Bother You, to an Oscar-nominated turn as conflicted FBI informant William O’Neal in Judas and the Black Messiah, play on moral duality.
The Book of Clarence builds on those strengths, as it’s a film which demonstrates the same likeable flair, verve and artistic commitment as its predecessor. And yet, while its originality continues to cement Samuel as one of the more intriguing new filmmakers in the last few years, it’s too disjointed to truly hit home. Whether a gag-filled gospel tale is everyone’s cup of tea or not, this should at least leave audiences curious to see more of what’s inside Samuel’s head.
Little White Lies is committed to championing great movies and the talented people who make them.
Published 17 Jan 2024
The return of an exciting filmmaker with another bold idea and star-filled ensemble.
Hilarious highs and jumbled lows make for a tonally chaotic experience.
LaKeith Stanfield shines in a fun biblical comedy that doesn’t always come together.
Jeymes Samuel’s supremely violent revenge thriller is a bold and bloody reinvention of the movie western.
Adamma Ebo offers a glimpse into Southern Baptist culture – specifically the corporate greed of megachurches and celebratory pastors.
An incredible video essay looks at divine presence in the work of this American master.
Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them. Combining cutting-edge design, illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. We believe in Truth & Movies.
