An American nun embarks on a new journey when she joins a remote convent in the Italian countryside. However, her warm welcome quickly turns into a living nightmare when she discovers her new home harbours a sinister secret and unspeakable horrors.
Immaculate, directed by Michael Mohan and written by Andrew Lobel, is a blend of religious horror and psychological thriller that promises much but delivers inconsistently. Starring Sydney Sweeney, Álvaro Morte, and Simona Tabasco, the film borrows from genre predecessors, using familiar techniques such as shock cuts and jump scares. While it doesn’t reinvent the wheel, it has enough flair to maintain audience engagement.
The film’s storyline revolves around religious corruption, with a pointed commentary on how those in power within religious institutions often excuse their actions under the guise of divine right. This theme resonates throughout the movie, offering glimpses of deeper, more provocative content. Yet, it often feels as though the film only scratches the surface of these themes, leaving much undeveloped.
Sydney Sweeney's performance stands out, especially in the final moments of the film. Her portrayal is a masterclass in emotional range, as she conveys a spectrum of emotions from terror to triumph, largely without dialogue. Her series of blood-curdling screams solidifies her status as a contemporary scream queen. Sweeney’s dedication to her role provides a strong anchor for the film, making her scenes particularly compelling.
Despite these strengths, Lobel’s writing often feels lacklustre. The script sets up a 'jump jump' type film, hinting at a more complex narrative beneath the surface but failing to fully explore it. The film’s reliance on jump scares, which are more startling than genuinely frightening, underscores this shortcoming. There is a lack of psychological terror, which could have provided a more lasting impact.
One of the film’s most audacious aspects is its final five minutes, which feel like they belong to a different, more daring film. This bold ending contrasts sharply with the rest of the movie, offering a glimpse of the potential that was not fully realized. It hints at a more original and innovative direction that the film could have taken but ultimately does not pursue.
Visually, Immaculate is impressive. Cinematographer Elisha Christian captures the gloomy, dark setting of the convent beautifully, enhancing the film's spooky atmosphere. The Italian scenery is expertly photographed, with effective framing in large church halls and hallways adding to the sense of suspense. The film's soundtrack further enhances the tension, contributing to the overall eerie mood.
The film does touch on significant social issues, such as gender violence, sexual abuse, religious fanaticism, and the ethical dilemmas of abortion. These themes are symbolically presented, opening a debate on the condition of women within religious contexts. The narrative depicts how men within the Church manipulate and use women to bring a miraculously conceived baby into the world, portraying these men as arrogant figures who believe they can control everyone around them.
However, the film’s ambitious thematic undertones are often underdeveloped. Lobel’s script gestures towards deeper themes, from bodily autonomy to sexual violence and religious hypocrisy, but these elements remain puny and underexplored. The film’s social commentary, while present, lacks the depth needed to make a lasting impact.
Immaculate is a gothic slow-burn, characterized by a gradual buildup of tension rather than immediate scares. This approach works to some extent, creating undeniable moments of suspense. The film's setting in a convent, combined with decent performances from the cast, manages to create a spooky atmosphere. Yet, much of what works about the film does so because of Sweeney’s committed performance. Her portrayal gets better as the film progresses, providing a beacon of quality amidst the film’s shortcomings.
Despite its potential, Immaculate often feels predictable. Many of its narrative twists are telegraphed well in advance, reducing their impact. The film's ambition is clear, but it suffers in comparison to more daring works within the genre. It is a smaller, less ambitious film that keeps its most horrific elements for the final act, unlike the sustained terror of classics like The First Omen.
Immaculate is a film that promises much but delivers unevenly. Its blend of religious horror and psychological thriller elements, combined with strong performances, particularly from Sydney Sweeney, provides moments of genuine engagement. However, the film's lacklustre script, reliance on clichéd jump scares, and underdeveloped thematic content hold it back from being truly memorable.
Visually impressive and atmospherically rich, Immaculate hints at a deeper narrative but ultimately falls short of fully realizing its potential. While it may not offer many surprises or thrills, it remains a watchable entry in the genre, primarily buoyed by Sweeney’s standout performance.