The Last Supper (2025)

Paul Asay notes that the film leans especially hard into Jesus’s love even for his enemies, describing the foot-washing of Judas as one of its most quietly devastating moments. Asay observes that the film hews relatively closely to Scripture, with Chris Tomlin confirming that biblical fidelity was his primary reason for attaching his name to the project. Asay acknowledges the film’s narrative departures while ultimately finding it a story worth hearing again.

The outlet awards four out of four stars for entertainment quality and calls the film “God’s Word Brought to Life,” praising its strong Christian, biblical worldview and its faithful depiction of the cleansing of the Temple, the Last Supper, the betrayal, crucifixion, resurrection, and Christ’s restoration of Peter. Movieguide advises caution for older children due to the violence and dark moments, but recommends the film for adult believers.

Daniel Blackaby highlights the film’s central theological contrast between Peter and Judas—two men who failed their Lord but responded to that failure in opposite directions. The film depicts both characters under the torment of Satan, who preys on their fear and guilt. Whereas Judas ultimately succumbs, Peter finds forgiveness and is restored. The Collision also notes the filmmakers’ intentional emphasis on the table as a site of intimate fellowship and sacramental meaning—a reminder that communion is not merely ritual but relationship.

The outlet offers a commendatory assessment, describing the film as “a simple, grounded and genuine film, making it a welcome change of pace” from Hollywood-produced biblical epics that alter Scripture for dramatic effect. Raphael Vera highlights the parallel staging of the Lord’s Supper and the Passover Seder below as “a unique dramatization” not previously seen on film, and connects the two meals to the deep Passover typology fulfilled in Christ

Reviewer John Mulderig acknowledges Borrelli’s strong visual background as a veteran art designer and credits him with some warm and vivid imagery and an appropriately reverent tone. However, Mulderig finds that some of the action feels forced and the mood occasionally becomes overwrought. He singles out Jamie Ward’s performance as a bright spot—a serene portrayal of Jesus that largely avoids the pitfalls of the genre—while finding Judas’s characterization frustratingly underdeveloped.

Critic Joseph Holmes, writing from a faith-engaged perspective, argues that the film is a reminder that good intentions do not produce good art. Holmes contends that The Last Supper is outclassed by the cultural moment it arrives in—particularly by The Chosen, which had set a new standard for Christ-centered storytelling—and uses the film as a case for holding faith-based cinema to a higher craft standard. He does not dismiss the filmmakers’ sincerity, but insists that sincerity and quality are not the same thing.

The film holds a limited critical consensus on the site. One critic summarizes: The Last Supper has some pacing issues, but gives an adequately entertaining interpretation of this well-known Christian story, with performances that are credible and not as cringeworthy as those in other low-budget faith-based films. The audience reaction was considerably warmer, consistent with the faith-based film pattern of enthusiastic core-audience support. It currently holds a 80% Popcornmeter score.

The film carries a 5.2/10 rating on IMDb, reflecting a sharp split between viewers who found it a faithful and meaningful retelling and those who found the performances and pacing underwhelming.