John Michael McDonagh’s Calvary is best described as a Medieval Passion Play disguised as a satire. Over time the film shifts from a dark comedy about an Irish Catholic priest struggling to save his own life, to a deeply emotional and thought-provoking parable about the nature of forgiveness. By the end, Calvary transforms itself into a more poignant meditation on the passion of Jesus Christ than Mel Gibson’s The Passion of the Christ. Unlike Passion, Calvary avoids being heavy handed with the subject material. It is less an examination on Christianity, and more of an examination of humanity, and the trials that human beings must endure.

The film centers on Father James (Brendan Gleeson) who at the start is threatened by one of his parishioners during confession. The unseen parishioner tells James he plans to murder him in a week as retribution for the sins of the Catholic Church, and he will give James one week to get his affairs in order. The rest of the film follows James during that week as he contemplates what course of action to take. Should he physically confront his would-be murderer? Should he go to the police? Should he run away? On top of everything James must care for his mentally ill daughter Fiona (Kelly Reilly) who has recently attempted suicide.

The miracle of Calvary is Gleeson’s performance. There are touching moments from the other actors, but Gleeson commands the film. The beauty of his performance lies in its subtlety. Today we often see actors shout their way through movies. Many young actors often incorrectly believe that acting for the camera is all about line delivery and having their “moment” where they give a robust, energetic monologue full of sound and fury. While acting for the stage requires lots of energy and projection, acting for the camera is a beast of a different nature. A mesmerizing film performance depends not only on line delivery but also the moments of silence, when only the actor’s face conveys the story. Gleeson’s performance is a clinic on acting with silence. The opening scene of Calvary is incredible because it’s just a close up of Gleeson. He barely speaks at all, but his face tells us everything we need to know about his character. A great actor can give us all the exposition we need without even saying a word.

While Gleeson’s performance is captivating Calvary is not without sin. The most glaring flaw is the second act. Calvary has a gripping beginning, but it muddles through the middle of the film. There isn’t enough happening to keep us engaged. McDonagh diminishes this problem by blending the heavy subject matter with very dark comedic turns. He manages to keep the film from being too allegorical. By far the most memorable moment is the film’s ending which perfectly encapsulates the film’s tone. It’s sad and thought provoking, but there are still moments of comedy peppered throughout the final scene.

At its heart Calvary transcends its religious overtones and becomes a portrait of basic human decency. Gleeson portrays a man struggling to be righteous in a world that is slowly decaying around him. Like the protagonists of the early Passion Plays he is everyman searching for some glimmer of light in the darkness.