"The Passion," in its confused way, confirms the old justifications for persecuting the Jews, and one somehow doubts that Gibson will make a sequel in which he reminds the audience that in later centuries the Church itself used torture and execution to punish not only Jews but heretics, non-believers, and dissidents.
From the New Yorker's review of "The Passion"
and later
Gibson can brush aside the work of scholars and historians because he has a powerful weapon at hand—the cinema—with which he can create something greater than argument; he can create faith.
This sounds very like the way in which his other big blockbuster "historical" films--Braveheart and The Patriot--ignored, twisted, or invented "history" to suit their polemical ends. As Randall Wallace, the writer for Braveheart (and other travesties, like Pearl Harbor), is fond of saying, facts can get in the way of the truth. A funny way of looking at the truth, but what do I know? I'm only a historian.
also, from the MSN review of The Passion
The surprising alliance between Gibson, as a traditionalist Catholic, and evangelical Protestants seems born out of a common belief that the larger secular world—including the mainstream media—is essentially hostile to Christianity.
Perhaps Gibson's antiVatican Catholics can make common cause with the antiEpiscopal Church Episcopalians and the fundamentalist evangelical Christians (like the guy I heard interviewed on NPR last night who asserted that the Bible--presumably the KJV--is the literal, immutable and inerrant word of G*d, that both the Old and New Testaments are wholly relevant to the world today and are the guide for every action in his life--I'm assumng he stones his neighbors to death if they take the Lord's name in vain.