Orthodox saint meets Chicago gang life in gritty crime flick ‘Moses the Black’

50 Cent is going from sin to sanctity.

Hot on the heels of his recent Netflix documentary on the debauched downfall of hip-hop mogul Sean “Diddy” Combs, the rapper turned producer is set to release an urban crime drama inspired by the life of fourth-century Ethiopian monk Moses the Black.

Even in our compromised state, saints remain scandalous and alluring precisely because they cut against our deepest desires and despair.

Fans of Fox Nation’s “Martin Scorsese Presents: The Saints” will remember the violent bandit turned desert-dwelling ascetic as one of the series’ most fascinating subjects. Officially recognized by Pope Leo XIII in 1887, the former slave has long been venerated as the patron saint of nonviolence and is widely praised as a symbol of the power of peace and repentance.

Out for blood

“Moses the Black,” a loose retelling of that story set against the backdrop of modern-day Chicago, follows Malik (Omar Epps), a gang leader fresh out of prison and seeking to avenge his murdered friend.

Complicating his quest his is grandmother, an Orthodox Christian who gives him an icon of St. Moses, whom she describes as a “saint who was also a gang member.” Haunted by frustration, loss, and a lifetime of sins, Malik starts having visions of the saint, who warns him that the bloody path he has embarked upon is one he will regret.

“Moses” — which also features hip-hop notables Wiz Khalifa and Quavo — makes for an interesting companion piece to director Yelena Popovic’s previous outing, 2021 St. Nektarios biopic “Man of God.” Where that film depicts sanctity as something preserved through obedience and suffering, “Moses” imagines it reclaimed from disorder.

Mean streets

Malik navigates an inner city filled with dealers and enforcers locked into violent criminal lives, casually killing rivals or shooting up funerals over petty grudges. These sequences are among the film’s darkest and do not soften their portrayal of brutality or drug use.

“Moses” is clearly a personal project for the platinum-selling artist born Curtis Jackson, whose own background mirrors Malik’s. Raised by a single mother in Jamaica, Queens — herself a drug dealer who was murdered when he was 8 — Jackson entered the drug trade at a young age. After barely surviving an attack by a rival in 2000, Jackson released his debut “Get Rich or Die Tryin'” in 2003.

Although that album cemented Jackson’s association with the violence and materialism of gangsta rap, its cover found him wearing a jewel-encrusted cross necklace. The tension between survival and transformation is one Jackson understands firsthand.

As he has said:

I believe in God. I didn’t survive being shot nine times for nothing. I didn’t claw my way out of the ‘hood just ’cause it was something to do. I know I’ve got a purpose, a reason for being on this planet. I don’t think I’ve done everything I’m supposed to do yet. But I do know this: I ain’t going nowhere ’til I’ve done it all.

Redemption song

There is something unsettling and compelling about the lives of saints. Even in our compromised state, they remain scandalous and alluring precisely because they cut against our deepest desires and despair. The film’s greatest strength is its depiction of how Catholics and Orthodox Christians turn to saints during moments of trial, seeking models of repentance and change — models Malik strains toward but does not easily inhabit.

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The film’s ambitions, however, exceed its budget. Extensive handheld camerawork — whether a stylistic or budgetary choice — sits uneasily beside green-screen flashbacks and CGI-heavy desert scenes. The rough Chicago footage clashes with these elements, and the film might have benefited from a tighter focus on Malik’s interior struggle. Exaggerated performances from the supporting cast further push many scenes into melodrama.

Despite its “faith-based” trappings, “Moses the Black” is emphatically not a family film. It includes graphic violence, coarse language, and crude sexual innuendo, narrowing its audience to those inclined to receive its warning. Still, its central claim — that mercy extends even to the gravest sinners — lands with force in a culture starved for hope.

“Moses the Black” will be released through Fathom Entertainment on January 30.