The Apocalypse of St. John, via Fathom Events

It is the part of the Bible that fans of horror movies and heavy metal consider cool. It is easy to understand why after watching this documentary, even though it doesn’t even reach the part about the number of the beast. If you thought it was all allegorical then you are very much mistaken, according to filmmaker Simon Delacre. It is prophecy—as St. John’s text plains states, seven times. So, you’d better straighten yourself out while you still can. Delacre and his theological advisors explore the significance of the last Book of the New Testament in extremely Catholic terms throughout The Apocalypse of St. John, which screens for three nights starting tomorrow, via Fathom Events.

Seven is an important number in the The Book of Revelation, also known as The Apocalypse of St. John. In fact, Delacre and company quite cogently explain the seven Churches, the seven seals, and the seven trumpets. It also convincingly suggests which Church corresponds to which historical era. While the word “apocalypse” carries negative connotations, Delacre’s documentary tellingly reminds viewers the prophecy ultimately culminates with the victory of light over darkness and the Final Judgement, which the faithful have no reason to fear. So, there is a welcome attempt to accentuate the positive.

Most of the credit goes to Delacre (and his lead Biblical consultant Pablo Auguso Marini), because the film never employs talking head interview subjects. Instead, it features Ricardo Castro portraying St. John in brief dramatic recreations, held together by AI-animated collages assembled from classic sacred art. Perhaps most importantly, Delacre has David George’s rich narrator’s voice, which has a Heston-like tone.

Despite’s George’s commanding voiceovers, Delacre’s doc lacks human dimensions. While it provides a good nutshell overview the chain of events foretold by St. John, it seems to contradict itself. First, the film unequivocally asserts that the Apocalypse of St. John is prophecy rather than allegory. Yet, it consistently analyzes passages with language that suggests symbolic interpretation.

Regardless, the film will surely limit its audience with its discussion of the “Protestant Heresy.” While maybe not evil per se, Delacre’s film clearly indicts Luther and Calvin for obscuring the true light. There is also a weird preoccupation with the prophesized mass conversion of Jews in Israel. Make no mistake, according to this film, there is only one true Church.

You can still learn a good deal here about Christian theology and early Christian history. For instance, its considerable discussion of the heresy of Arianism (and the extent to which it infected high-ranking Church clergy) is particularly notable.

However, the film is often downright weird stylistically and the content will be divisive, even (and especially) among Evangelical audiences, who ought to be strong allies for a film like this. (In contrast, the Fathom-platformed Triumph Over Evil: Battle of the Exorcists is an extremely Catholic documentary that is still easily accessible to a wide-spectrum of believers.) Frankly, the excesses are too plentiful to recommend Delacre’s documentary as cinema. As for other reasons to watch—that’s for you and your conscience to decide. The Apocalypse of St. John screens tomorrow, Monday, and Tuesday (2/15-2/17) in theaters, including the AMC Empire in New York.