While Ben-Hur presents itself as a Bible-epic spectacular, it instead succeeds as an intimate depiction of forgiveness gained through the rigours of faith.

The past few years has seen a resurgence of sorts in Bible epics. While they don’t match the grandeur and craftsmanship of the much loved Golden Age of Hollywood classics (The Ten Commandments, Quo Vadis), there is an intimacy found in the likes of Exodus: Gods and Kings and Risen that bring a much needed humanity to stories and characters who can be seen as anything but.

So it goes with Ben-Hur. The fifth adaptation of highly influential religious novel “Ben-Hur: A Tale of the Christ” (written by General Lew Wallace), this Timur Bekmambetov directed version has (and forever will) lived in the shadow of William Wyler’s 1959 epic that starred Charlton Heston as the title character. In scope, craft and entertainment value, the 2016 version simply does not match.

Yet strength is indeed found in its portrayal of faith – sturdy, unflinching, life changing – in the face of hatred and its many guises.

As written by Oscar winner John Ridley (12 Years a Slave) and Keith R. Clarke (he of the undervalued The Way Back), Ben-Hur contains a spirit that builds as each of its 125 minutes pass. It’s palpable, it’s powerful…yet it’s often undercut thanks to some questionable direction by Bekmambetov, whose penchant for visual extravagance (with much in the way of choppy editing, close framing and overuse of CGI stylings) clashing with a story where emotion rather than action should have been its main priority.

Indeed, its story of Jewish prince Judah Ben-Hur (Jack Huston) and his quest for vengeance against the adopted brother who falsely accused him of treason, the Roman general Messala (Tony Kebbel) is one caught in a tug of war between brooding drama and over the top visual spectacular.

Fortunately, the performances from its main players manages to keep things grounded at the right times. While Jack Huston does not ooze the superstar charisma of a Charlton Heston, he does bring a contemplative power to his portrayal of a man continuously transformed throughout a journey of emotional and spiritual impact.

Toby Kebbel is also quite good in another villainous role that thankfully has some meat on tis bones for the underrated thesp to work on. Unfortunately, the inclusion of Morgan Freeman as Iderim (powerful mentor figure to Ben-Hur in the latter stages of the film) feels in every way to be a casting decision of monetary influence in order to have a recognised name above the marquee, all distraction and little substance. And yes, the famed provider of gravitas narrates to groaning effect.

As with the 1959 version, a chariot race sequence is featured as the pivotal scene from which to supposedly attain the films greatness. As made with today’s technology and Bekmambetov’s penchant for handling such things, it indeed stands out as solid action sequence. Yet the film’s most powerful moments are not in its violence fuelled action, but rather in its of spiritual clarity.

After all the novel upon which this film is adapted is called “Ben-Hur: A Tale of the Christ”, with the Christ in the equation portrayed by Brazilian actor Rodrigo Santoro. While much like Diogo Morgado’s portrayal of Jesus in Son of God there is an aesthetic distraction, the power in Jesus’ preach very much resonated through the characters and story of Ben-Hur, as it is supposed to do.

Vengeance and violence may be the drawing card for many to see Ben-Hur, but make no mistake this is a film that presents what it is to have conviction in belief. Had another director been on board, maybe that messaged would have been presented with more clarity.