Immaculate — Review

Rather than openly embracing blood and guts horror, IMMACULATE prefers to shroud its darkness in shadow. Glimmers of despicable evil can be seen throughout Michael Mohan’s Giallo-inspired, nunsploitation send-up, bathed in black like the cloth the characters are dressed in. Sydney Sweeney continues her “moment” with a career-best performance, sinking deep into the innocence and naivety of a young woman committing herself to God before bursting outward with primal force when her life and bodily autonomy are put at risk. Her performance is raw and unbridled, channelling female rage into more than a few blood-curdling screams that hint at Sweeney’s “scream queen” credentials.

IMMACULATE employs an immersive visual style, with striking use of colour and shot composition that draws the audience into the screen. Cinematographer Elisha Christian brilliantly captures the somber atmosphere of the convent setting, often entrenching the picture in shadow and punctuating it with the golden glow of candle light. Christian adds significant depth to each scene, and the immersive nature of the picture combined with Sweeney’s performance covers over some of the film’s narrative shortcomings. Though not terrifying in a conventional sense, IMMACULATE succeeds as a throwback genre piece that serves as a compelling vehicle for its star.