“Clarence” is about doubt and faith, atheism and holiness, greed and forgiveness. It has portions that feel hard and pointed, and other scenes that are slapstick and farcical. It can be somber, bitter, beatific, and silly in turns. There is a high-octane sword fight sequence followed by a sneaky con man’s speech. Samuel is so eager to spill out all his Biblical ideas, Christian criticisms, notions of honor and holiness, and jokey Mel Brooks-like modern-day jokes (characters speak in modern English) that he stumbles a little and drops a few threads. But Samuel’s excitement is so contagious, one remains utterly fascinated throughout.
Stanfield plays the titular would-be gospel-writer Clarence, a low-level criminal in AD 33. In this world, Jesus and the Apostles are local celebrities whom Clarence considers to be frauds; he is an atheist who doesn’t believe in miracles and considers this whole Jesus thing to be a long con of some kind. Clarence owes a great deal of money to a local crime boss Jedediah (Eric Kofi-Abrefa), and initially hopes to become the 13th apostle to gain some prestige and pay off his debts. This goes afoul, however, as he still resents his twin brother Thomas for joining Jesus right when their mother (Marianne Jean-Baptiste) was ailing in bed. Clarence manages to get a blessing from John the Baptist, but this John slaps him across the face for being such a disrespectful scoundrel.
Clarence eventually aims to become a Messiah himself, only as a means of enriching himself and his friends; he is accompanied everywhere by his best friend Elijah (R.J. Cyler).