The Book of Clarence Review

The Book of Clarence is nothing short of ambitious. Writer-director Jeymes Samuel, best known for The Harder They Fall, takes a daring swing at reimagining biblical narratives through the lens of Black experiences. With a charismatic lead in LaKeith Stanfield and a visually stunning production, Samuel crafts a story that feels both like a correction of Hollywood’s historically whitewashed biblical epics and a bold, subversive satire. However, for all its ambition and flashes of brilliance, the film struggles to balance its satirical edge with its dramatic weight, resulting in a fascinating but flawed epic.

The story follows Clarence (LaKeith Stanfield), a streetwise hustler in 33 C.E. Jerusalem, who smokes weed, gambles, and spends his days scraping by. After losing a chariot race to Mary Magdalene (Teyana Taylor) and falling into debt with local gangster Jedediah the Terrible (Eric Kofi-Abrefa), Clarence devises a get-rich-quick scheme: pretending to be a messiah. With the help of his sidekick Barabbas (Omar Sy), Clarence begins “performing miracles” and attracting followers, only to find himself on a collision course with Roman authority, led by Pontius Pilate (James McAvoy). Along the way, Clarence’s estranged twin brother Thomas (also played by Stanfield) struggles with his faith as one of Jesus’ disciples, providing a poignant counterpoint to Clarence’s cynicism.

Visually, the film is a feast. Samuel’s Jerusalem is a vibrant, textured world, brought to life with stunning cinematography by Rob Hardy and tactile costume design. From the dusty streets of chariot races to the opulent robes of the Roman elite, every detail feels deliberate and immersive. The soundtrack, composed by Samuel himself with contributions from R&B and hip-hop legends, injects the film with a modern sensibility that feels fresh and daring. These elements combine to create a world that feels both ancient and immediate, a space where Samuel’s unique voice shines.

However, The Book of Clarence suffers from tonal inconsistency. The film oscillates between broad satire in the vein of Monty Python’s Life of Brian and the grim seriousness of The Passion of the Christ. The humor, which is hit-or-miss, often undermines the dramatic stakes, while the heavier moments feel overly ponderous. For instance, the literal light bulb that appears over Clarence’s head as he devises his messianic grift is a prime example of the film’s uneven humor. While some comedic elements land — such as David Oyelowo’s inspired cameo as a slap-happy John the Baptist — others feel forced or fall flat.

The film also grapples with weighty themes, including faith, exploitation, and the erasure of Black narratives in history. While the effort to reclaim these stories is admirable, the execution feels uneven. The script struggles to balance its satirical commentary with its more earnest explorations of faith, leaving some of its most compelling ideas underdeveloped. The depiction of Pontius Pilate and the Roman Empire as stand-ins for white supremacy is a bold political statement, but the lack of nuance in their portrayal diminishes the impact.

Stanfield’s performance is another mixed bag. He brings charm and charisma to Clarence, particularly in the early scenes where his con-man antics are on full display. However, as the story veers into darker territory, Stanfield seems misaligned with the material. The film asks him to balance comedy, drama, and a journey of spiritual reckoning, a task that proves overwhelming. This inconsistency in tone also extends to the ensemble cast, with standout performances from Omar Sy and Anna Diop contrasting with underutilized turns by Michael Ward and Benedict Cumberbatch.

The final act is where The Book of Clarence truly swings for the fences. Clarence’s arc culminates in a brutal crucifixion sequence that attempts to merge the film’s satirical and dramatic elements into a cohesive whole. While the scene is undeniably powerful, it feels at odds with the lighter tone of earlier moments, leaving the audience unsure of how to reconcile the film’s disparate moods. Despite its flaws, the film’s closing moments deliver a bold statement about reclaiming narratives and challenging monolithic interpretations of history and faith.

The Book of Clarence is a film that demands attention, even if it doesn’t fully succeed in its ambitions. It’s a messy, sprawling epic that dares to ask big questions and offers a fresh perspective on biblical history. While the film’s tonal shifts and uneven pacing prevent it from reaching its full potential, its audacity and originality make it a worthwhile watch. Whether you leave inspired, frustrated, or somewhere in between, one thing is certain: Jeymes Samuel is a filmmaker with a unique voice and vision, unafraid to take risks in telling stories that matter.