In The Young Messiah (2016) Jesus, as a young boy, does not yet know that God the Father has predestined him to be . . . everything. Alpha and Omega. The Savior of the world. Cyrus Nowrasteh crafted the film in such a way as to suggest that the earthly existence of the child is relevant to all humanity, as when he shows Jesus looking intently at various individuals. And when he shows him intermittently doing what his parents generally oppose him doing: performing a healing. How could he not be the Anointed One?
Based on an Anne Rice novel, Christ the Lord Out of Egypt, the movie explores not only the theme of destiny but also the themes of family love and loyalty, the Fatherhood of God, and the actually inescapable nature of the invisible world. . . There is weakness in The Young Messiah, and the film can get confusing. But Adam Greaves-Neal is the right fit for Jesus, along with some fine acting emanating from Christian McKay as the boy’s uncle, Sean Bean as the Roman Severus, and Sara Lazzaro as Mary. It is an interesting work with many sapid touches, e.g. several Herod-sent Roman soldiers clearly disinclined to seize the young Jesus before whom they stand.

Human relations can get so loathsome. In last night’s Jane the Virgin, a very pregnant Petra treated Jane condescendingly, bitchily, before the unexpected childbearing, and Paolo (Ana De la Reguera), who seemed so sane at first, continued to keep Rogelio captive in a non-dingy locked apartment. And then we hear that Xiomara has invited into the family’s lives a man who represents “bad luck.” The telenovela problems and antics were strong—the episode was teeming with them. Here’s one of the antics: Petra named her two newborn daughters Elsa and Anna, which names are from the animated movie, Frozen, though Petra didn’t know that.