Father Joe: Besson’s Gritty Pulp Sermon Pits Sutherland’s Priest Against Pacino’s Kingpin
You can’t keep a good genre architect down. Or a controversial one, for that matter. Just when the cinematic obituaries were being drafted, Luc Besson—the man who gave us the operatic weirdness of The Fifth Element and the brutal efficiency of Taken—is quietly, stubbornly, building another pulpy cathedral. This one is called ‘Father Joe,’ and its cornerstone is a delicious, almost archetypal piece of casting: Kiefer Sutherland as a warring priest and Al Pacino as the mob boss who owns the streets he walks.
According to Variety, the film is set in a 1990s Manhattan, a character in itself—all grime, neon, and moral decay. Sutherland’s Father Joe isn’t just offering last rites; he’s declaring a one-man war on the criminal underworld. Pacino, stepping into the shoes of a powerful mafia don, finds his empire threatened not by the cops, but by a man of the cloth. Caught in the crossfire is a young woman, played by rising star Ever Anderson (Black Widow), seeking redemption under the priest’s violent protection.
It’s a premise that feels both fresh and unearthed from a 90s time capsule. And for a filmmaker like Besson, who has been embroiled in #MeToo controversies and working largely in the European market, it’s a pointed return to the kind of stylized, morally conflicted American thriller that made his name.
The Besson Gospel: Violence and Redemption
Let’s be clear—this isn’t just another action movie. In the hands of a journeyman, perhaps. But Besson, even just as writer and producer here, has a specific, almost spiritual fixation. His filmography is littered with these damaged, quasi-paternal figures navigating worlds of extreme violence. Jean Reno‘s professional killer in Léon: The Professional, Bruce Willis‘s cab-driving savior in The Fifth Element, even Liam Neeson‘s ex-spook in Taken—they are all men of specific, brutal skills, forced into a protective role that becomes a form of penance.
Father Joe fits this mold like a worn leather glove. A priest taking up arms is a classic trope, but Besson’s lens has always been one of aestheticized conflict. He doesn’t just want you to see the violence; he wants you to feel its spiritual cost. The casting of Sutherland is a masterstroke in this regard. We’ve spent decades watching him embody weary, gritty resolve in *24*. There’s a world-worn pain behind his eyes that can sell a sermon just as easily as a sniper shot. This isn’t a clean hero; this is a man whose faith is being tested with fire and lead.
And what’s a fiery trial without a proper devil? Enter Al Pacino. The prospect of Pacino, in his later-stage grandiloquent glory, facing off against Sutherland’s brooding intensity is the kind of cinematic promise that gets film fans sweating. His mob boss won’t be a quiet threat; it will be a performance. The collision isn’t just between good and evil, but between two distinct, powerful acting styles—Sutherland’s contained storm versus Pacino’s glorious hurricane.
The Director’s Chair and the Besson Machine
Steering this vessel is a relative newcomer, Barthélémy Grossmann, with Besson producing through his EuropaCorp banner. This is the same machine that powered the Taken and Transporter series, a well-oiled factory for muscular, Euro-centric action. Grossmann is an interesting choice—a bet on new talent to channel a classic Besson vibe. It’s a model Besson has used before: nurture a director, provide the blueprint, and let the machine do its work.
The project kicks off filming in mid-October, and it arrives hot on the heels of Besson’s own directorial effort, the gothic horror-romance Dracula: A Love Tale, which has been a significant hit in international markets like Russia. It seems that while one part of Besson explores baroque romance, the other is effortlessly sliding back into the comfort of New York grit and moral ambiguity.
Sutherland, who also joins the project as a producer, told Variety his enthusiasm was immediate: “I have been a fan of Luc Besson going back to ‘Subway.’ As a director and a writer, he has a unique capacity to weave drama and action together without sacrificing either.” That’s the Besson promise, isn’t it? The one that made us fall in love with a hitman who loves his plant and a cab driver who saves the universe.
A Cinematic Crossroads
So, what are we to make of ‘Father Joe’ in 2024? Is it a genuine return to form for the Besson ethos, or a nostalgic echo of a bygone era of filmmaking? The pieces are all there, laid out like sacred and profane artifacts on a priest’s altar: the avenging angel protagonist, the flamboyant villain, the gritty urban playground, the young soul in need of saving.
It feels like a thesis statement. In an industry obsessed with superheroes and expanded universes, Besson is going back to the kind of contained, character-driven thriller that built his empire. It’s a gamble on star power, on directorial style, and on the enduring appeal of a well-told, pulpy sermon. I’m intrigued. I’m skeptical. I can’t look away.
What You Should Know About ‘Father Joe’
- The Core Conflict: This is a classic David and Goliath story, but David is a priest with a violent streak and Goliath is Al Pacino in full mobster regalia. The 1990s New York setting promises a return to gritty, practical action aesthetics.
- The Besson Factor: While not directing, Luc Besson’s DNA is all over this. As the writer and producer, he’s returning to the themes of morally grey protectors and redemptive violence that defined classics like Léon and The Professional.
- A Star-Studded Production: Beyond the marquee names of Sutherland and Pacino, the film introduces Ever Anderson as the narrative’s emotional core and is directed by rising filmmaker Barthélémy Grossmann, signaling a blend of established and fresh talent.
- The Production Timeline: Mark your calendars for the start of this pulp sermon. Filming for ‘Father Joe’ is set to begin in mid-October, so expect the first glimpses and potential teasers to surface in the months following.
‘Father Joe’: Your Questions, Answered
Is ‘Father Joe’ just a retread of Besson’s past hits?
It certainly walks a familiar path of morally conflicted men and stylized violence. But the specific dynamic of a priest as the avenger, paired with the potent casting of Sutherland and Pacino, offers a new flavor. It feels less like a retread and more like a refinement of Besson’s core thematic obsessions.
How will this film address Luc Besson’s controversial public perception?
The article doesn’t speculate, and neither will I in a review. The work must stand on its own. The industry has continued to work with him, and the film’s performance will ultimately be judged by audiences, separate from, but inevitably shadowed by, the artist’s personal history.
What does this mean for Barthélémy Grossmann’s career?
Directing a project of this scale, with a script by Besson and starring Hollywood legends, is a massive opportunity. If he can successfully channel the Besson tone while imprinting his own voice, it could launch him into the upper echelons of action directors. If it fails, the blame will likely fall on the established name, not the new one.
Can this film reignite the kind of gritty, star-driven thrillers from the 90s?
It’s a strong test case. The success of Father Joe could signal to studios that there’s still a hungry audience for mid-budget, concept-driven action films powered by iconic actors, rather than IP. Its failure might cement the current trend of franchise dominance for a while longer.
