Mary (2024) Review: D.J. Caruso’s Retelling of the Virgin Mary is Surprisingly a Dull Biblical Epic
The name D.J. Caruso directed an epic biblical film Mary may sound like an odd choice, given the majority of his filmography is thriller (from 2002’s The Salton Sea to 2022’s Shut In) and action genres (2008’s Eagle Eye and 2017’s xXx: Return of Xander Cage). But one might easily forget that this isn’t his first time directing a faith-based film since he has already explored the genre in Redeeming Love two years ago.
Mary, of course, tells — or should I say, retell — the story about the titular Virgin Mary played by Israeli actress Noa Cohen in an attempt that combines epic coming-of-age storytelling with a dash of historical action-adventure and supernatural elements. But as ambitious as it may sound, the execution tells a different story altogether. One that reeks of strangely uneventful biblical epic that doesn’t justify the powerfully resonant story of Mary.
Written by relative newcomer Timothy Michael Hayes, the story begins with Mary’s somewhat awkwardly misplaced voiceover narration: “I was chosen to deliver a gift to the world. The greatest gift it has ever known. You may think you know my story. Trust me, you don’t.” Wait… what? “Trust me, you don’t“? Is this supposed to be some sort of a fictional, make-believe epic historical tale resembling the Virgin Mary’s story? It turns out that Caruso and Hayes have taken a lot of creative liberties in turning the familiar story of Mary into a take-it-or-leave-it version with some faithful renditions.
So, the movie wants to show us how it all begins with the walking scene at the Judean Desert in 18 BC as we learn Mary’s father Joachim (Ori Pfeffer) willing to continuously fast and repent for forty days as a sign of asking for God’s forgiveness. He and his wife, Anne (Hilla Vidor) have been trying to conceive a child but fail to do so, leading to Joachim’s journey in the first place. Fortunately, their prayers are finally answered when a mysterious man in a blue robe who calls himself Gabriel (Dudley O’Shaughnessy) tells Joachim that God will grant him a daughter in exchange for the parents must dedicate her to the service of God.
Nine months later, Anne successfully gave birth to a baby girl and they named her Mary. Mary subsequently grows up and serves God as promised, working and living in the temple as one of the servants overseen by the head priest Bava Ben Buta (Mehmet Kurtuluş). The story also shows how Mary and Joseph (Ido Tako) first met, a result that feels like I’m watching a YA romance drama revolving around love at first sight. Mary then finds herself impregnated with a child as a result of fulfilling God’s prophecy, leading to the birth of Jesus later in the movie.
The birth sparks controversy, particularly the iron-fisted King Herod (Anthony Hopkins), who feels threatened by Mary’s presence and more so with the child. Caruso tries to spin a coming-of-angle story that feels both familiar and relatable with Mary’s journey being the chosen one and how she endures the trials and tribulations throughout her life. It should have been an inspiring story but too bad the overall narrative lacks sufficient dramatic and emotional weight to make me invested in Mary’s character arc.
Noa Cohen may look the part for the role but she is ultimately hampered by perfunctory storytelling. The rest of the actors are just as disappointed, even for screen veteran Anthony Hopkins who could only muster a so-so performance as King Herod. Caruso even tries to spice up his biblical epic with a few action scenes, notably in the third act revolving around the sword fights but what I have here is rather a limp result. As for the rest of the technical fronts, Timothy Williams’ percussive-heavy score and Gavin Struthers’ on-location cinematography shot in Morocco are adequate for such a faith-based film.
Mary is currently streaming on Netflix.
