Critic's Grade: B+

Frank's film tip: Mel Gibson has endured a Holy War of words in presenting his lavish but gratuitous religious melodrama in the controversial last hours of the Savior in the absorbing THE PASSION OF THE CHRIST

NOTE: Filmed in Latin and Aramaic with English subtitles

So the newsworthy Mel Gibson's religious epic The Passion of the Christ finally comes to the big screen with the controversial anticipation hanging over its harried head. It seems like a lifetime since this film came into focus and dominated the concerned mindsets of people from all walks of life who were so intrigued by how a determined filmmaker such as the wily Gibson would portray the Savior. The Passion of the Christ is perhaps one of the most scrutinized pieces of entertainment to come into our cinematic consciousness in quite some time. Although flawed and debatable when it comes to the authenticity of its convictions, Gibson's absorbing narrative that courageously depicts the remaining chaotic twelve hours of Christ's glorified life is indeed captivating and provocative in its exquisite spirit.

In examining the pronounced gratuitous violence that the Oscar-winning Gibson intentionally chose to incorporate as the characteristic scope of the conflicted Jesus and His trial and tribulations, the sentiment is of a mixed bag of folks who could argue for the colorful carnage being showcased. On one hand, the consensus is that Gibson took too much liberty in sensationalizing the tragic sacrifice that God's precious Son suffered in the name of Mankind. With the vivid depiction of gory close ups through torturous tactics and other bloody sequences that Gibson thought warranted such gruesome intimacy, Passion may be seen as an overwrought tasty touch of exploitation in taking the Lord's name in vain. However, the flip side of this argument is that the urgency to show Jesus in such treachery and turmoil is necessary in order to fully understand what sacrificial stakes were at large based on the indignity He suffered at the evil free will of Man's inhumanity.

In essence, Gibson's elaborate take is totally legitimate in addressing the latter forethought as opposed to the former. Let's fact Biblical facts, folks--the scriptures were crystal clear when they noted how Jesus Christ tolerated such horrible atrocities in the way His execution robbed Him of life but never of his sturdy spirituality. For Gibson's artistic vision to be compromised and questioned in how he chooses to inject the blood-stained realism in his viewpoint of Christ's defining departure would be rather disingenuous to his personal beliefs. Also, in serving up a safe and Disney-esque approach to accepting Christ's demise on the cross would in fact be irresponsible and defeat the purpose of His impact for Him dying for our humanistic sins.

As for the probing concerns about who really killed Jesus Christ, the theory that persists is that the Jews were responsible for his elimination thus sparking unwanted anti-Semitic vibes. The contrary thought process blames the Romans for His execution. And some would argue that both groups were instrumental in snuffing out the inspirational existence of our Savior. Whatever the stance is regarding this on-going topic, all this speculation should take a backseat to the real issue at hand. Of course, the real issue being that Jesus willingly gave His precious life as a symbolic gesture for men to assume the freedom to live and determine their course of vulnerable existence in an imperfect world created by God, the perfect Father.

The redeeming quality about Gibson and his hot-button film that dares to shine the unflattering light on Jesus Christ and the turbulent times is the enthusiasm and audacious choice to convey the passion on all accounts. The passion for a moviemaker of Gibson's caliber to bring the shocking gospel as he sees fit to entertain and inform. How about the passion in presenting Christ as an alluring entity whose intentions was honorable and sacred? What about the passion to reveal the misguided and maligned deeds of man and his unpredictable motives? For the most part, The Passion of the Christ is a hostile reflection that looks to stroke our inner souls and patch up our tattered psyches.

The film starts off in the garden of Gethsemane where Jesus (Jim Carviezel, Frequency and Angel Eyes) is faithfully performing prayers. As the heated events start to unravel, Jesus soon will find himself in a series of restrictive moments that would change the outcome of His livelihood. It should be known that Passion is not obligated to expound upon the noted teachings of Jesus Christ nor will it get into the revered specific details about His life that led up to his eventual numbing crucifixion.

As a filmmaker with a clear cut agenda, Gibson doesn't possess the need to conjure up the complete holy package that was the illustrious Jesus Christ. Thus, the audience has no alternative but to be somewhat familiar and in tune with what the Lord was intended to be as a sainted figurehead that traveled around while spreading the Good Word. There will be some Biblical references that some can point to for recognition (i.e. The Last Supper, the trademark of deception--the serpent, etc.). And there's no doubt that Gibson utilizes some ad-libbed liberties to punctuate his rousing story with a few accented revelations.

For the most part, the brutality and seedy sequences definitely sink in when Jesus is put threw the tedious task of enduring a humiliating arrest only to be followed by horrific beatings and other sickening kinds of torture that ensue. The inquiry about whom wanted Christ's head on a silver platter is moot but equally interesting--the antagonistic Roman soldiers performed the nasty blood-drenching ritual of the execution while the religious leaders of Jerusalem sat back and encouraged the indescribable slaughtering.

Gibson's detractors will probably scream that his animated exposition is laced with heavy doses of manipulative hogwash that endorses the murderous surge for shock value. Again, it is true that Passion features some of the most grotesque images that one will ever witness in a motion picture with so much hyped reverence. But the hysteria is necessary in order for the moviegoers to appreciate the psychological and emotional impact of the religious fervor created by this gutsy presentation. Gibson, who also co-wrote this crafty yet corruptive project, oversees what perhaps may be the most subversive and stylized observant looks at bringing the damaged Deity to the forefront. While others may proclaim sacrilege, The Passion of the Christ is an ambitious and visceral undertaking that demands acceptance. The torment and other graphic images that are bandied about only heighten what is a sensitive commentary in how the Lord assumed the brunt of punishment that man unknowingly inflicts upon his own flesh-and-blood brethren.

The performances are durable and steady amidst the vigorous mayhem. Carviezel embodies the shredded skin of the Savior with relentless fortitude as his fragile body and mind is a mixture of strength and fatigue going through the complex motions. As the Virgin Mary, Maia Morgenstern is absolutely radiant and compelling in her infectious angst. Hristo Naumov Shopov is superb as the deceiving Pontius Pilate that triggers the alienation factor regarding Christ's dubious fate. And Rosalinda Celentano is outrageously cunning as the devious Satan that clouds the judgment of the weak-minded.

The Passion of the Christ is a classic tale of believing in faith and holding on to an unshakable philosophical principle that is mined in tolerance but derived out of destructive means. It's so easy to criticize the vile and virulent trappings of Gibson's volatile film and dismiss it as blatant banality. But for once let the overwhelming expressiveness of Jesus Christ's disturbing yet poignantly historic ending clear the slate into why we're allowed to bounce between the shadows of decency and decadence as living beings with the ability to exorcise free will in our everyday human-oriented choices.

Frank rates this film: *** stars (out of 4 stars)

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