Immaculate
Immaculate
The term “Immaculate” is applicable as a homage to an older Italian horror while also being a contemporary criticism on woman’s possession and control over her body, however, these two cannot be compared with the former and the latter does not have the stature within the story to make one care about this subject.
Star Sydney Sweeney continues her ‘moment’ after the success of ‘Anyone but You’ and gabs on her job of hosting ‘Saturday Night Live’ with a horror flick that already comes with the reputation of Neon, one of the most powerful distributors out there in the market.
She does absolutely nothing wrong here with that potential typical new arrow in her professional quiver as a scream queen but all around ‘Immaculate’ collapsing, due to its remarkable lack of ambition. ‘Immaculate’ seem to be an in house project for Sweeney, who also wore the producer’s hat and she was quite insistent on it, for all others it is like being confined.
All other parts have a VOD gloss, leaving edit-less stuffing to the poor actress, who is stuck in a bottom-of-the-barrel project. As if tacky Russell Crowe would appear in front of me on my Vespa, like in ‘Pope’s Exorcist’ and taking her away from the dull film.
Sweeney plays the role of Cecilia, a woman whom we are not even aware of anything apart from her unyielding loyalty that she has due to an accident during childhood on a frozen lake which was supposed to take her life. Just like the majority of the character in the ‘Immaculate’, rather than a tool in the structural equation, she is a question mark.
It is not always a problem for the audiences if the film is stylized enough to make them forget about the flat characters, but Michael Mohan’s film pretty much in the face cries out that it does not have a visual language; it is dull and drab when it has to be colorful and pinging when it is supposed to be in flat surfaces.
Most will want to draw parallels between this movie and the Giallo genre primarily because it is convent set Italian horror but Giallo is a lot more about in your face cinema in the brightest of the brightest forms of “Immaculate” than it is in Baby.
Cecelia reaches an Italian convent some time in the future, or at least we can say a vague period –the way this film precisely fits in the course of history has always been a little too annoying for me. This is located deep in the Lady V’s absconding rural areas.
This house of the Lord is scary because we are already introduced to that one classic horror film’s prologue where so many of those young silent women are killed by people we do not have the chance to see. In this one, however, it’s sisters in red masks who stop a young nun from escaping and w him in a wooden box underground. Is Ceclia going to assume that strange woman’s role now? Will the lesson be taught?
Before any time passes at all really, there is something that Cecelia sees in the convent. There is something disturbing in some of the characters about what is essentially a hybrid institution for the ‘training’ of young nuns and the ‘hospice’ for elderly ones.
In the case of Andrew Lobel’s original ideas for the movie which likely gained some acceptance, that particular setting which happens to be the summerside for about ninety nine percent of the movie does exist somewhere between films of this kind living and translating religion into films was probably such an original simultaneous central element. No, this kind of film requires such leans leans leehee will lean in firm on its ideas and themes. Do not restrain yourself. Do not suppress possible themes.
Make sure to load and fire just as boldly and loudly as the best movies that inspired this one pose did.
The first interesting twist in the plot of ‘Immaculate’ comes when Cecelia learns that she is pregnant, even though she has never engaged in sexual intercourse with a man. Is it the work of magic? Or of a witch? It is a gross understatement how the authors fill the void of myths and mysteries without really filling the void at all.
So many interesting themes to play also but, the team who had made ‘Immaculate’ is almost belligerent in how unoriginal they are willing to get with making all those interesting themes, instead fully content with exploding flesh instead of actually trying to set a mood or keep an atmosphere.
Through it all, the camera is held by Sydney Sweeney. She is an ever more interesting actress, expanding her not very big early career with such diverse projects as ‘reality’, ‘anyone but you’ and this one.
These are admirable qualities of hers to the extent that she has no qualms in exploring even the deepest recesses within her, and she does here especially in an astonishing last scene that lets people feel as if they had just watched a good movie and not just a good ending to a bad one.
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- Genre: horror, Mystery
- Country: United States
- Director: Michael Mohan
- Cast: Sydney Sweeney, Álvaro Morte, Simona Tabasco
