Spiliotopoulos’ navigation of horror elements replicates the understanding of someone who’s only watched horror trailers, never a full feature. In practice, The Unholy squanders Craig Wrobleski’s sharper cinematography around crooked prophetic trees or the latter-tented shrine enclosure with rather unappealing computer-generated jolts.
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Plus, Jeffrey Dean Morgan handily oozes numbskull ignorance of local folklore as Gerry unwittingly smashes a kern baby to “beef up” his story’s header photograph-everything is in place for a righteous rumble between priests, reporters, and a medical professional who infallibly translates Latin (Katie Aselton as Dr. Spiliotopoulos summons a puppetmaster via satanic attributes like needle-whittled fingers or scorched flesh. Bishop Gyles becomes the resident shady padre who suggests God’s servants aren’t all worthy shepherds, and Alice resembles an alluring purity as she parrots an invisible saint’s words. Alice’s innocence at first plays in contrast to Gerry’s ego-driven selfishness, while Father Hagan questions the sanctity of shrines where worshippers flood like those in Brazil or elsewhere. On surface glances, The Unholy establishes damnation of faith that stings with Catholic commentary. While this should excite Gerry, he starts to question the merciful voice behind Alice’s words as something not from above, but below. Bishop Gyles (Cary Elwes) and Monsignor Delgarde (Diogo Morgado) arrive to assess if Alice’s actions are indefinitely miracles. Father Hagan (William Sadler) wants to protect Alice-his niece-from prayer-thirsty hordes, while Gerry shops exclusive interviews around as a means of professional reclamation. A deaf teenager (Alice, played by Cricket Brown) experiences Mary's touch, is cured of her hearing loss and begins performing miracles through the virgin mother’s orders. Spiliotopoulos lays a foundation that’ll attract religious fright-seeking flocks, yet his gospel is of a more formulaic supernatural thriller that ultimately doesn’t convert through execution.ĭisgraced journalist Gerry Fenn (Jeffrey Dean Morgan) stumbles upon the headline of a lifetime in the rural Massachusetts community of Banfield. As blasphemy becomes the narrative’s weapon of choice, shoddy computerized graphics and short-burst scare tactics never care to sustain terror. Where it fails has nothing to do with lacking nudity, crudeness, or throat-slasher violence. Evan Spiliotopoulos’ theological revenge piece about shrines, false prophets, and divine intervention works within the confines of genre blueprints without profuse cursing or sloppy gore. A lot gets said about PG-13 horrors like The Unholy because of their “tameness,” but no MPAA rating has ever ruined a movie-that’s up to the storytellers, performers, and filmmakers.
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