The Book of Clarence

Opening with its protagonist nailed to a cross, The Book of Clarence somehow avoids turning preachy or heavy-handed.

This revisionist Biblical comedy from British director Jeymes Samuel (The Harder They Fall) becomes caught between paying tribute to large-scale religious epics of a bygone era and spoofing them with style and swagger to spare.

Yet even if its ambition surpasses its execution, this reimagining of the time of Jesus Christ through a fresh cultural lens benefits from a top-notch ensemble cast and a bold vision that compensates for a wildly inconsistent tone.

Clarence (LaKeith Stanfield) is among those skeptical when rumors spread through ancient Jerusalem about a Messiah capable of performing miracles. He and his sidekick (R.J Cyler) scam rivals like Mary Magdalene (Teyana Taylor) in chariot races to pay off their debts.

A shorter journey to riches and respectability might come with impersonating this Jesus fellow, which at least would earn respect from the woman (Anna Diop) he desires, despite the approval of John the Baptist (David Oyelowo).

However, a plan to become a 13th apostle is rejected by his own twin brother and by the duplicitous Judas (Micheal Ward), among others. With his faith tested, he teams with the muscular Barabbas (Omar Sy), only to endure more trouble during a visit by Pontius Pilate (James McAvoy), whose oppression of the working-class locals is infused with racial prejudice. And what happens when the real Jesus shows up?

Grounded in his relatable underdog story of self-discovery and following your dreams, Clarence provides a unique window into a world we’ve seen re-created numerous times before.

A fully committed performance by Stanfield (Sorry to Bother You) provides another showcase for his multifaceted talents. He conveys sympathy as a reckless yet charismatic and morally conflicted man who refuses to adhere to traditional institutions or belief systems.

Wearing its vintage Western visual influences with proud conviction, the film overflows with anachronisms, from dialogue to fashion to dance numbers — all accompanied by brisk visual flourishes. Despite its uneven nature, it generates solid laughs without resorting to mockery or outright blasphemy, even when roping Mother Mary (Alfre Woodard) into the fray.

Samuel’s screenplay isn’t interested in dismissing or rewriting scripture as much as adding a new chapter. Perhaps not as transgressive as intended, The Book of Clarence rewards those who buy in — regardless of your devotion to the source material.

Rated PG-13, 129 minutes.