Inmaculada

Sydney Sweeney sheds her good-girl persona in Immaculate, a horror film that throws a devout young nun, Cecilia, headfirst into the nightmarish underbelly of a secluded Italian convent. While the premise is deliciously creepy, the execution lands somewhere between a campy throwback and a missed opportunity for deeper thematic exploration.

There's no denying the film's fun factor. The first act lures you in with idyllic Italian countryside visuals and a warm welcome for Cecilia. But the cracks soon begin to show, and the movie gleefully dives into increasingly bizarre and bloody territory. Think The Wicker Man meets Suspiria with a dash of Sweeney's signature intensity. The special effects, while not top-of-the-line, lean into a practical, grotesque quality that complements the film's grindhouse vibe.

Sweeney is the undeniable star here. She beautifully portrays Cecilia's transformation from wide-eyed innocent to a woman fighting for survival, both physically and emotionally. There's a vulnerability in her performance that makes you root for her, even as she descends into badassery. The supporting cast, however, feels a bit one-note. Their portrayals of the enigmatic nuns are more stereotypical than chilling.

The historical and cultural context of Catholicism is undeniably present, with religious iconography and rituals fueling the film's atmosphere. However, Immaculate doesn't quite commit to a deeper social commentary on faith or female subjugation. It throws out intriguing themes but doesn't fully explore them, leaving me wanting more.

The score is a haunting blend of choral music and discordant strings, perfectly capturing the unsettling duality of the convent. The editing is sharp, keeping the pace brisk and the scares coming. There's a sense of stylish chaos to the film, particularly in the later acts, that's undeniably entertaining.

Immaculate isn't immaculate. The script could have benefited from tighter plotting and a clearer thematic focus. But for fans of campy horror with a strong leading performance, it delivers a wild ride. So, if you're looking for something to shock you and maybe make you laugh a little (nervously), then step into the convent with Cecilia. Just don't expect a profound spiritual experience.

I have a lot of mixed feelings about 'Immaculate'. It did some stuff I really liked, but then let itself down in other areas. It kept the jump-scares to a minimum, but the ones it did have were pretty easy to spot and ineffectual. It had a lot of gory and hard to watch scenes which were pretty effective and probably when the film was at its strongest. It also contained a fake-out dream sequence which is my most hated horror trope. For everything this film did well it seemed to do something else to offset it.

At first I had trouble buying Sydney Sweeney as a nun. I just couldn't make it work in my head. What I realised as the film went on however, was that her charisma and natural likeability was what was carrying the film. The absolute fundamental key to any horror movie working is that we have to care about the fate of the character/s. And because of her I did.

I liked this film a lot more than I thought I was going after about 15 minutes of the runtime. It's certainly a film that gets better as it goes along. It also does well to not outstay its welcome and keep the runtime to a brisk 89 minutes. I couldn't say this is must-see horror, but I could say it's worthy of giving a chance. 6/10.

Unfortunately, I'm not usually the type to see modern horror films right when they're released, often waiting a few years. This can feel like I'm really missing out as I hear about all the hype on social media and risk being influenced by critic reviews and spoilers.

This was the case with Immaculate, a film I would have eagerly seen in theaters early this year (2024), especially given its more than positive reviews.

The film attempts to blend science and religion, which is an intriguing concept, but it doesn't fully explore this idea with greater depth. To put it bluntly, Immaculate seems to fall short on several fronts. It adheres closely to tropes established by classics like Rosemary's Baby, preventing it from feeling fresh or original. And while it pays homage to religious horror it doesn't offer anything necessarily different or new to the genre.

While the convent setting has potential, and the Italian countryside feels tranquil, however, the rest of the film ultimately falls stagnant. It does benefit from a decent budget, featuring some nice special effects and solid camerawork, but it's the scope of the story where it truly lacks.

This was my first experience watching Sydney Sweeney, who was likable but not particularly awe-inspiring. Her appearance more than overshadows her performance, focusing on her distinct feminine figure which might have kept my interest more than the plot.

There's a hint of mystery, and some intrigue from the religious foundations helps hold the core of the narrative together. By the ending however, the film fails to leave a lasting impression, with no standout scenes or striking performances.

A month later, after watching the extras, I found I had forgotten most of the story except for a brief, thirty-second ending, which underscores my disappointment of not bringing anything memorable to the table.

The idea itself was promising, and the execution wasn't entirely terrible. Sydney Sweeney was or perhaps is "the" highlight, but the film's depth, lore, and psychological elements do feel inevitably short, leaving it unable to leave a lasting mark.

5/10.

The echoes of Roman Polanski's "Rosemary's Baby" are undeniable, from the secluded convent setting to the paranoia and isolation Cecilia experiences. But "Immaculate" carves out its own space in the genre with a surprising amount of bite.

"Immaculate," starring Sydney Sweeney as a young nun named Cecilia, delivers a captivating performance as a woman of quiet strength thrust into a horrifying situation. Where Mia Farrow's Rosemary Woodhouse in "Rosemary's Baby" was a naive outsider, Cecilia possesses a steely resolve. This subtle difference fuels the film's suspense. We see the cracks in Cecilia's faith as she grapples with the inexplicable, but she never loses her agency.

The film tackles themes of female subjugation and bodily autonomy within a religious framework. Cecilia's struggle for control over her own body becomes a potent allegory, particularly in today's social climate. It's a film that will stay with you long after the credits roll, leaving you questioning faith, free will, and the immaculate deception that can lurk behind holy walls.

I had the chance to catch "Immaculate" before its release, hoping for a fresh horror experience set in a stunning Italian convent. Unfortunately, the movie felt like a letdown. The story follows Cecilia, who's supposed to uncover some dark secrets in her new, holy home, but it all ends up feeling too familiar.

The film tries to be edgy and dark but doesn't quite hit the mark, almost playing it safe like a PG-13 movie so any comparisons to "Saint Maud" almost feel like an insult. It teases us with brutality but pulls its punches, leaving us with a sense of "been there, seen that" rather than genuine chills or thrills.

Despite its beautiful setting and a premise that could have taken us on a deep, disturbing dive into faith and fear, "Immaculate" doesn't deliver. It ends up feeling like a collection of horror clichés without the bite, missing a chance to really stand out. For those looking for a horror movie that packs a punch, this might not be it.