Get ready to clutch your rosaries and gasp your Hail Marys, because Immaculate has risen to theatres, proving itself to be the unholy offspring of gothic horror and cult craziness we didn’t know we needed. Immaculate takes us on a perilous pilgrimage of a young nun who finds her sanctuary is anything but. Directed with a gothic touch by Michael Mohan, and starring the doe-eyed and scream-filled Sidney Sweeney, Immaculate weaves a tale of faith, terror, and unholy revelations.
“…the unholy offspring of gothic horror and cult craziness we didn’t know we needed.”
Upon her arrival at a picturesque Italian convent, an American nun, Sister Cecilia (Sydney Sweeney), finds herself entangled in a web of divine terror. A fish out of water and without a full grasp of the language, Cecilia leans on the well-meaning intentions of her hosts and keepers, proving to be a grave mistake. Mohan crafts a narrative that interweaves Sister Cecilia’s devout innocence with the malevolent undercurrents of her new secluded abode. Delightfully sinister secrets lurk in dark hallways and basement sanctums. But despite the film’s rich atmospheric setup, character depth is somewhat sacrificed at the altar of shock and awe. The narrative tends to lean heavily on jump scares, devoting quite a lot of valuable screentime to their setup, sacrificing potential character development, and leaving viewers craving more human substance behind the screams.
The tonal execution in Immaculate is where the film finds its unhallowed ground, echoing the gothic, stoic underpinnings reminiscent of Robert Eggers’ The Witch. It skillfully navigates the haunted corridors of modern nunsploitation with a knowing nod, aware of the shadowy clichés it dances with. Yet, the film transcends mere mimicry, unfurling its own sinister tapestry of sacrilege and good intentions gone awry, unfolding with a third act that’s fresh, new, and uncharted waters.
As for performances, Sydney Sweeney’s portrayal of Sister Cecilia is a beacon of light in the film’s pitch-black journey into the catacombs. She navigates the tightrope of her role with a commendable finesse. Despite the script’s scant character background, Sweeney’s portrayal grounds the escalating madness, preventing the character’s ordeal from descending into the realms of the campy or overacted.
The climax of Immaculate, much-hyped on The Twitter as a “big bonkers showstopper,” simmers with potential but ultimately doesn’t plunge into a seasoned horror fan’s expected depths of darkness. While the finale is undeniably grim, the restrained execution leaves a yearning for a more unchained, no-holds-barred conclusion. The film, shunning schlock for a more subdued horror, crafts a narrative that is as much about the internal torment of faith as it is about external horrors. Though, there is still plenty of viscera to behold, so don’t get too disappointed.
Releasing just in time for Easter, Immaculate indulges in its springtime sacrilege, a perfectly timed thematic mischief that toys with the sanctity of rebirth and resurrection. This seasonal juxtaposition not only amplifies the film’s blasphemous undertones but also cleverly aligns with its thematic core of perverted piety. Blessed are the creeps, for they inherit the earth.
“…a sacrilegious gem, and even while steeped in the trappings of its unholy genre, manages to carve out a niche of its own.”
Overall, Immaculate is a sacrilegious gem, and even while steeped in the trappings of its unholy genre, manages to carve out a niche of its own. Its narrative, though marred slightly by an over-reliance on jump scares, is elevated by a potent atmosphere and a commanding lead performance. The film, while not fully delivering on its apocalyptic promise, captures both the sacred and profane in a schlockless balance. Immaculate is a cinematic pilgrimage worth taking for those seeking a blend of reverence, revulsion, and the holiest unholy.
Immaculate is in theatres now. Did you catch it? Share your thoughts with the Nightmare on Film Street Discord Community!
