Nowadays, he’s a disgrace, so says his mile-long stare and the flask he’s shaking into his morning coffee. Jeffrey Dean Morgan (Watchmen, The Walking Dead) stars as Gerry Fenn, a smirking, silver-haired wiseass, who was once a well-respected reporter. And one jaded journalist is giddy to be in the center of it. It’s a sensational story that quickly captures the attention of Catholics across the nation.
And she uses her voice to speak for Mary. Now, she can hear the awed gasps of the parishioners as she manifests miracles of healing. This is extraordinary not only because it seems to be the Virgin Mary, but also because Alice is hearing impaired. There, a beatific girl named Alice (Cricket Brown) hears the voice of Mary calling to her. theaters April 2.Adapted from James Herbert’s 1983 novel Shrine, The Unholy follows the story of a miracle in the humble town of Banfield, Massachusetts. Opening-night viewers of “The Unholy” will be likely to have forgotten it by Easter. The distributor is playing up the fact that this film is hitting theaters on Good Friday, but that seems like a decision based more on exploitation than on provocation. There’s not a lot of local flavor on display, and the low budget shows when Alice’s miracles don’t attract a throng of hopefuls waiting to be cured. What we get instead here is a tepid little chiller with an overqualified cast, which also includes Katie Aselton as the local doctor.
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Sam Raimi is a producer here, and it’s hard not to think about how he might have mined this material both for provocation and for fright his “Drag Me to Hell” remains the gold standard of how to scare the heck out of an audience within the restrictions of PG-13.
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(Lil Nas X covers these issues, with more depth and artistic fervor, in 190 seconds in his “Montero (Call Me By Your Name)” video.) But you can also sense the filmmaker holding back and trying not to offend even the craven bishop is balanced out by young Monsignor Delgarde (Diogo Morgado, “Son of God”), the savior-in-a-collar required in any movie about demonic possession.Īlso Read: 36 Possession Movies And Counting: Why Hollywood Is Taken With the Unholy Phenomenon Spiliotopolous’ screenplay (based on the novel “Shine” by James Herbert) pays lip service to the idea that miracles can bring as much bad as good into the world, and that it’s hard to distinguish the hand of God from the trickery of the devil. That no one bothers to ask which Mary leads everyone into typical scary-movie trouble, from the people that Alice heals (including her emphysema-suffering uncle) to the diocese’s unscrupulous bishop (Cary Elwes, with an erratic clam-chowdah accent), who sees dollar signs at the prospect of this small Massachusetts town becoming the next Lourdes. Alice miraculously begins speaking and hearing, bringing a message that she has been visited by the spirit of Mary. His careless act unleashes the spirit, which possesses Alice (first-timer Cricket Brown), the deaf and mute niece of Father Hagan (William Sadler), whose church is adjacent to the tree. Watch Video: 'The Unholy' Trailer Offers Sinister Horror Take on Faith-Based Films (Yes, this is another movie where witch-burners are portrayed as correct and virtuous rather than the fanatical misogynists that history has shown them to be.) The woman’s spirit is captured in the body of a doll that is left at the bottom of the tree so that disgraced journalist Gerry Fenn (Jeffrey Dean Morgan) can find it in the modern day and crush it in order to instigate a phony story he’s writing about cattle mutilations for a dodgy website. She’s accused of being possessed, then nailed to a tree and set on fire. The film’s opening sequence, set in 19th-century Massachusetts, offers a woman’s POV.
On top of that, it’s a PG-13 horror movie, which takes excessive gore off the table, pushing the director (in this case, screenwriting-vet-turned-debut-director Evan Spiliotopolous) to replace it with lukewarm jump scares. You’ve seen this one before, countless times, with its superhero priests and seemingly omnipotent spirits who are somehow powerless against containment prayers and quick-thinking investigative journalists. There’s the germ of a provocative idea in “The Unholy” - namely, what if you took a religious-visitation movie like “The Song of Bernadette” or “The Miracle of Our Lady of Fatima” and turned it into a horror movie? Had the film bothered, or dared, to pursue that notion to the fullest, “The Unholy” might be something other than the standard-issue, priests-versus-demonic-spirits thriller that it is.
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