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Son of God

Son of God

Drama · 2014

In the Holy Land, the Roman occupation has produced a cauldron of oppression, anxiety and excessive taxes levied upon the Jewish people. Fearing the wrath of Roman governor Pontius Pilate , Jewish high priest Caiaphas tries to keep control of his people. That control is threatened when Jesus arrives in Jerusalem, performing miracles and spreading messages of love and hope. Those who fear that Jesus will inspire a revolution decide that he must die.

Movie details

Son of God

“Their Empire. His Kingdom.”

2014 Drama 2h 18m

Critical arithmetic

One number, for now.

TMDB

6.8 / 10

Community rating

In the Holy Land, the Roman occupation has produced a cauldron of oppression, anxiety and excessive taxes levied upon the Jewish people. Fearing the wrath of Roman governor Pontius Pilate , Jewish high priest Caiaphas tries to keep control of his people. That control is threatened when Jesus arrives in Jerusalem, performing miracles and spreading messages of love and hope. Those who fear that Jesus will inspire a revolution decide that he must die.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Son of God?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Holy Lands

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Silence

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Names above the title

The people responsible.

Directed by

Christopher Spencer

Written by

Richard Bedser · Christopher Spencer · Nic Young · Colin Swash

Diogo Morgado

Diogo Morgado

Jesus

Roma Downey

Roma Downey

Mary, Mother of Jesus

Greg Hicks

Greg Hicks

Pilate

Adrian Schiller

Adrian Schiller

Caiaphas

Darwin Shaw

Darwin Shaw

Peter

Sebastian Knapp

Sebastian Knapp

John

Joe Wredden

Joe Wredden

Judas

Court is in session

Put Son of God on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.