Jesus Is Magic is a stand-up comedy film by Sarah Silverman, an American comedian, actress, and writer. Released in 2005, the film features a mix of Silverman's stand-up routines interspersed with musical performances and skits. The majority of the film was recorded during Silverman's sold-out performance at the Henry Fonda Theater in Los Angeles. In "Jesus Is Magic," Silverman pushes the boundaries of comedy, often employing controversial and taboo topics. Her humor is known for being edgy, sarcastic, and politically incorrect. Throughout the film, she addresses sensitive subjects such as race, religion, and gender, challenging societal norms and provoking laughter through her sharp wit and satirical style.
Throughout the film, she addresses sensitive subjects such as race, religion, and gender, challenging societal norms and provoking laughter through her sharp wit and satirical style. One of the recurring themes in "Jesus Is Magic" is religion, particularly Christianity. Silverman often explores the hypocrisy and absurdity she sees in religious beliefs, using humor to question traditional dogmas.
Silverman is magic; film not so much
"Sarah Silverman: Jesus is Magic" is a movie that filled me with an urgent desire to see Sarah Silverman in a different movie. I liked everything about it except the writing, the direction, the editing and the lack of a parent or adult guardian. There should have been somebody to stand up sadly after the first screening and say, "Sarah, honey, this isn't the movie you want people to see. Your material needs a lot of work, the musical scenes are deadly, except for the first one. And it looks like it was edited by someone fooling around with iMovie on a borrowed Macintosh."
AdvertisementApparently the only person capable of telling Sarah Silverman such things is Sarah Silverman, and she obviously did not. Maybe the scene of her kissing herself in the mirror provides a clue. The result is a film that is going to make it hard to get people to come to the second Sarah Silverman film. Too bad, because Silverman is smart, funny and blindsides you with unexpected U-turns. She could be the instrument for abrasive and transgressive humor that would slice through the comedy club crap. But here, she isn't.
You have seen her before. She started in "Saturday Night Live" and has been in 15 movies and a lot of TV shows. She's tall, brunette and good-looking, and she says shocking things with the precise enunciation and poise of a girl who was brought up knowing how to make a good impression. The disconnect between what she says and how she says it is part of the effect. If she were crass and vulgar, her material would be insupportable: If you're going to use cancer, AIDS and 9/11 as punch lines, you'd better know how to get the permission of the audience. She does it by seeming to be too well-bred to realize what she's saying. She's always correcting herself. When she uses the word retards she immediately registers that it's non-PC and elaborates: "When I say 'retards,' I mean they can do anything."
So that's one of her lines. It would be a cheap shot for me to quote a dozen more, and do her act here in the review. Better to stand back and see why she's funny but the movie doesn't work. The first problem is with timing. None of her riffs go on long enough to build. She gets a laugh, and then another one, maybe a third, and then she starts in a different direction. We want her to keep on, piling one offense on top of another. We want to see her on a roll.
That's in the concert documentary parts of the movie. She stands on a stage and does the material and there are cuts to the audience, but curiously not much of a connection; it doesn't seem to be this audience at this performance, but a generic audience. Then she cuts away from the doc stuff to little sketches. The first one, in which her sister (Laura Silverman) and her friend (Brian Posehn) brag about their recent accomplishments, is funny because she perfectly plays someone who has never accomplished anything and never will, and lies about it. Then we see her in a car, singing a song about getting a job and doing a show, and then she does a show. Fair enough.
AdvertisementBut what's with the scene where she entertains the old folks at her grandma's rest home by singing a song telling them they will all die, soon? She is rescued by the apparent oblivion of the old folks, who seem so disconnected she could be working in blue screen. Then there's the scene where she angrily shakes the corpse of her grandmother in its casket. Here is a bulletin from the real world: Something like that is not intrinsically funny. Yes, you can probably find a way to set it up and write it to make it funny, but to simply do it, just plain do it, is pathetic. The audience, which has been laughing, grows watchful and sad.
To discuss the film's editing rhythm is to suggest it has one. There are artless and abrupt cuts between different kinds of material. She's on the stage, and then she's at the nursing home. There is a way to make that transition, but it doesn't involve a cut that feels like she was interrupted in the middle of something. And the ending comes abruptly, without any kind of acceleration and triumph in the material. Her act feels cut off at the knees. The running time, 70 minutes including end credits, is interesting, since if you subtract the offstage scenes that means we see less of her than a live audience would.
Now if Silverman had been ungifted or her material had lacked all humor, I would maybe not have bothered with a review. Why kick a movie when it's down? But she has a real talent, and she is sometimes very funny in a way that is particularly her own. Now she needs to work with a writer (not to provide the material but to shape and pace it), and a director who can build a scene, and an editor who can get her out of it, and a producer who can provide wise counsel. On the basis of this movie, it will be her first exposure as a filmmaker to anyone like that.
Sarah Silverman is a comedian whose career has taken her far beyond a stand-up mic. She’s worked in TV and movies and even wrote a bestselling memoir that was adapted into a musical. But her success hasn’t come without sacrifice. As Silverman once admitted, she had to choose which she wanted more: her career or kids.
The title itself, "Jesus Is Magic," is a play on words, indicating the irreverent and irreverent nature of the film's content. Silverman's comedic style is characterized by her ability to tackle sensitive topics without hesitating to offend. She often bounces between lighthearted, silly jokes and darker, more thought-provoking ones. Her performances in "Jesus Is Magic" showcase this versatility, as she effortlessly transitions between playful banter and biting social commentary. In addition to her stand-up routines, "Jesus Is Magic" includes several musical numbers that parody popular songs or poke fun at societal norms. These musical interludes further demonstrate Silverman's creative range and ability to engage audiences through various mediums. "Jesus Is Magic" received mixed reviews upon its release, with some critics praising Silverman's fearlessness and comedic talent, while others found her humor too offensive and crude. Nevertheless, the film has gained a cult following over the years and has become a representation of Silverman's unique brand of comedy. Overall, "Jesus Is Magic" offers an unconventional and refreshingly bold perspective on comedy. With Sarah Silverman's sharp humor and fearless approach to taboo subjects, the film challenges societal norms and invites audiences to question their own beliefs. Whether one finds her comedy hilarious or offensive, there is no denying that "Jesus Is Magic" showcases Silverman's undeniable talent as a comedian, actor, and writer..
Reviews for "Finding Common Ground: Exploring the Religious Themes of 'Jesus Is Magic"
1. John - 2/5 - I was really disappointed with "Jesus is Magic." As a fan of Sarah Silverman, I was expecting her signature sharp wit and clever humor, but instead, I found the jokes to be tasteless and offensive. The entire film relies heavily on shock value, rather than showcasing Silverman's comedic talent. It felt like she was trying too hard to be controversial, which ended up overshadowing any potential for genuine laughs. I wouldn't recommend this film to anyone looking for smart comedy.
2. Emily - 1/5 - I found "Jesus is Magic" to be completely unfunny and offensive. Silverman's humor crosses the line into overt racism and offensive stereotypes, which I found inexcusable. It felt like she was attempting to be shocking just for the sake of it, without any real substance behind her jokes. The film lacked cleverness and relied heavily on shock value, leaving me cringing rather than laughing. I was extremely disappointed and wouldn't recommend this to anyone who appreciates thoughtful and intelligent comedy.
3. Michael - 2/5 - "Jesus is Magic" fell flat for me. While Sarah Silverman has her unique comedic style, this film didn't capture her best moments. The jokes felt forced and repetitive, lacking the freshness I expected. Additionally, the religious themes seemed forced and didn't add much to the overall comedic experience. It's definitely not one of Silverman's best works, and I'd suggest fans of her comedy to explore her stand-up shows instead.
4. Laura - 3/5 - I have mixed feelings about "Jesus is Magic." While Silverman's jokes were undeniably provocative, I don't think they were meant to be taken seriously. Her humor pushes boundaries and tackles taboo subjects, which can be polarizing. Some jokes hit the mark, while others missed completely. If you're a fan of Silverman's edgier style, you may find this film amusing, but if you're easily offended, it's definitely not for you.