‘Mary Magdalene’: Not Even Jesus Can Save This Miserable Biblical Drama [Review]

It is common knowledge within the film community that faith-based movies are almost always subpar. Unless your name is Martin Scorcese (“Silence”) or Mel Gibson (“The Passion of the Christ”), these religious flicks tend to function as one-sided arguments that fail to hold much, if any, artistic credence for the majority of secular audience members. Alternatively, for those of faith who hold quality cinema close to their hearts, this reality takes on a disappointing life of its own.

Nevertheless, the increase of upper echelon projects like “Mary Magdalene” inspires slight hope that an A-grade biblical film may come to fruition sometime in the future. Helmed by director Garth Davis (“Lion”) alongside Rooney Mara, Joaquin Phoenix, and Chiwetel Ejiofor in the lead roles, the film was delayed amidst the colossal controversy of the Harvey Weinstein scandal—the movie’s intended theatrical debut dates all the way back to August 2017—and it was uncertain whether the all-star biblical drama would ever witness the light of day. And, after beholding the film’s overdue unveiling, it might have been better if “Mary Magdalene” chose to lounge within the depths of obscurity for the rest of time, after all.

As the title indicates, the film focuses on the life of Mary Magdalene, arguably one of the most divisive biblical icons in existence. Celebrated as a saint and condoned as a possible prostitute, crafting a traditional faith-based film from the viewpoint of a woman is a fascinating notion that provides a reasonably broad margin for creative freedom, especially considering Mary’s scriptural background.

Sadly, “Mary Magdalene” nosedives before it gathers enough strength to stand. Although first-act implications hint at the prospect of a creatively crafted character study, the remaining two-act runoff plummets into the typical faults of not only faith-based films, but of substandard movies overall. Take a moment to imagine an alternate reality where Sofia Coppola directed “The Passion of the Christ.” Now, with those images in your mind, strip them of any narrative momentum, character development, and emotional connection; those unattractive images lingering in your mind are likely comparable to the style of insomnia-curing storytelling that plagues “Mary Magdalene” during its approximately two-hour runtime.

Misinterpretation stands out as the foremost flaw that robs “Mary Magdalene” of any meaningful compliments, and in turn, condemns the feature to slog around in a dazed state with no clearly defined destination. Emotionally, “Mary Magdalene” mistakes tearful misery for respectful reverence, confuses empty glances with ethereal intellectualism, and replaces liberating grace with oppressive grief. Any sort of uplifting moral, or message in general, is forsaken in place of speculating on the influence that Mary played in the life of Jesus Christ. And yet, this plot thread quickly loses sight of its intentions as Mary is regrettably forced into the background of Christ’s ministry predating his crucifixion; notably, Christ’s storyline is similarly skimmed over with the elegance of a SparkNotes summation.

Consequently, from a theological standpoint, it is uncertain how the film will affect its target demographic. Although biblical facts are not trampled upon or blatantly disrespected (Darren Aronofsky’s “Noah” and Ridley Scott’s “Exodus: Gods and Kings” garnered a decent amount of blowback upon their respective releases), the liberties that “Mary Magdalene” takes with regard to the relationship between Mary and Jesus, as well as Phoenix’s portrayal of Christ, may incur negative reception from Christian filmgoers. Relatedly, the performances from Mara, Phoenix, and Ejiofor, while admirable, drown themselves in oversentimentality.

On the most withdrawn criteria, “Mary Magdalene” is visually pleasing and competently constructed. The combined efforts of Davis’s direction and Greig Fraser’s camerawork (the cinematographer’s previous work includes “Zero Dark Thirty,” “Rogue One,” and the upcoming “Dune” adaptation) allow the movie’s technical aspects to shine above all else, adding slight relatability to an otherwise alienating experience. Thematically, conflict and uncertainty raise their heads high enough to call attention to themselves but never blossom.

For most, “Mary Magdalene” will come across as a glorified, pointless puff piece that unintentionally perpetuates an increasingly tiresome trend. More so than its counterparts, this biblical adaptation appeared to possess all the key ingredients needed to coalesce into a thought-provoking film—one that would please evangelicals and nonbelievers alike. Yet, “Mary Magdalene” encapsulates all the entertainment value of sitting through a passionless sermon delivered at a depressive funeral service. You might not feel the need to attend church this Sunday after the credits roll, but don’t be surprised if you find yourself praying for your time back. [D+]