Jesus is Magic

Directed by Liam Lynch

Roadside Attractions

2 1/2 stars





The title “Jesus is Magic” might evoke the idea of a religious fanatic’s film, something distributed by the likes of televangelist Jerry Falwell. However, this film, written by and starring former “Saturday Night Live” writer Sarah Silverman, is anything but reverent. The comedienne’s most recent endeavor—after small parts in “The Aristocrats” and “School of Rock”—is a filmed stand-up comedy routine, embellished with musical montages and skits.

For those looking for a comedy show with the extra editing capabilities only film can afford, “Jesus is Magic” is a worthy expenditure. No stage can accommodate a ’60s-themed music video—in which Silverman parodies through song every racial stereotype, only to find herself standing awkwardly in front of one of the targeted parties—and then jump to a skit of Silverman attacking her manager for failing to bring her Fiji water. The film allows Silverman to highlight both her extemporaneous stand-up routines and her more scripted pieces—the most consistently humorous of which are her songs.

“Jesus is Magic” is not the film for those expecting a cohesive plot, or any plot at all. The movie stumbles from jib to jab without any rationale, and although her politically incorrect caricatures are often entertaining, they are undercut by Silverman’s tendency to slide into sophomoric humor. One such example is the final scene, in which she “performs” a song using multiple orifices. The film even includes a scene where Silverman finds herself wildly in love with her reflection (and proceeds to passionately make out with the mirror), a piece that seems like a hallmark in the compendium of stupid humor.

True, one cannot adequately create an hour-plus comedic feature without some variety, but Silverman’s sketches often seem no more fulfilling than turning on the TV and flipping about to various late night comedy features. The film suffers simply because too many jokes in the film feel forced, as if simply mentioning (or acting on) “taboo” subjects such as sex or race is synonymous with eliciting humor.

Fortunately, the movie is short enough not to be wearing, even if one is distracted by its randomness. The film moves fast enough not to numb one­ into boredom in its weaker moments­simply wait five minutes, and a gag that is moderately entertaining is bound to occur.

While some of the skits of the film feel repetitive or uncreative, Silverman’s poise is at least a constant throughout the piece. She is surprisingly calm on stage for all the dynamism of her jokes, and her deadpan manner, which makes her seem almost shocked at herself, is amusing, if not truly hilarious in a few situations. However, even her engaging performance fails to make the film truly memorable, much less “Magic.”