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The intrigue of medieval mysteries comes, I propose, from the way that the prominent elemental aspects of that world—stone, fire, swords, horses, dark woods, fortresses—lend themselves to metaphor more easily than the manmade inventions of high-tech times. This same quality draws readers again and again to the fantasies of Tolkien, Lewis, and the King Arthur legends. Further, the inhabitants of this more primitive country seem so much more aware of invisible spiritual realities. In the 14th Century, the revolution of science and the implications of evolution had not yet fractured the faith of humankind, and their ideologies remain compelling and in some ways more truthful today than our modern tendencies toward rationalization and denial.

The Reckoning also demonstrates how, while some things change, some things stay the same. What are the headlines in this township? Church corruption. Child abuse. Controversial and violent popular entertainment and issues of historical accuracy. There is even a troubling parallel to recent stories about Michael Jackson.

The actors are perfectly cast for this shadowy journey through rugged landscapes. Director Paul McGuigan (Gangster No. 1) must have chosen them for their craggy visages. Their grave expressions suggest that they might indeed have been forced to trudge through marshes and woods and pastures for days on end in preparation for the roles. Production designer Andrew McAlpine and cinematographer Peter Sova create a grey, damp, disintegrating world of peasants, muddy avenues, and cold chills.

Willem Dafoe (Spider-man, Finding Nemo, The Last Temptation of Christ) is the film's true highlight, developing a character of convincing internal conflict. He turns in a performance of raw and at times astonishing physicality—the contortions of his pre-performance exercises become a visual metaphor for his ability to bend the conventions of drama and to transform his caution into bravery. It's some of the great actor's best work. Bryan Cox (Adaptation, X-Men 2) brings snarling energy to Tobias. Paul Bettany makes a convincing monk, youthful enough to be impulsive and valiant while carrying a heavy conscience and a familiarity with the evils that men do.

But don't expect a Brother Nicholas franchise any time soon. McGuigan and screenwriter Mark Mills, adapting Barry Unsworth's novel Morality Play, fumble the film's momentum in the final act by allowing the heroes to stumble into a verbose and wearying philosophical debate instead of a rousing climax. They drive the actors into melodramatic speeches that spoil the film's subtlety and upset the delicate balance of action and exploration. More marginal characters like De Guise and Simon are one-dimensional, even when they suddenly become crucial to the story. Worse, the revelation at the conclusion is anticlimactic and lacks imagination.

It's quite an unfortunate stumble, as the storytellers seem interested in some important questions and vital themes. The story wants to be about the power of art to reveal the truth of a matter, just as Hamlet's players proved they could "catch the conscience of a king."

The Reckoning also distinguishes itself from other recent mysteries that implicate a corrupt Christianity. While it becomes evident that some within the church are capable of malevolent deeds, Nicholas makes it clear that faith itself is not to be faulted—only those who commit evil within the church walls.

Nicholas's frequent references to God and moral responsibility, not to mention the prominence of a cross, remind us that there is no greater love than that of a man who lays down his life for his friends. Rather than merely preaching his pious beliefs, he aggressively engages in an artistic upheaval, promoting change through theatre and selfless acts.

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