Since the thriller was revived with 2021’s thrilling and respected drama “The Voyeurs,” it’s been clear that Sidney Sweeney and director Michael Mohan were interested in The Second Coming. So it was only a matter of time before they turned their attention to Christ himself in Immaculate, an enjoyable if uneven horror film cut from a slightly different cloth than its religious brethren with a captivating turn from its star as a virginal nun. Her pregnancy raises questions beyond the health of the child, and a hellish end.
Refreshingly free of the false theology that usually hampers films set within the church, Immaculate simply suggests that Our Lady of Sorrows is no place for a young woman. A rest home for older sisters to spend their final days, with the nun (Simona Tabasco) apparently trying to catch a break from it in its energetic opening sequence, and age doesn’t stop the novices from dying there, too. However, Sister Cecilia (Sweeney) is unaware of any of this after arriving in the Italian countryside from Michigan, and it is clear that she will not back down from serving the Lord while dealing with overly nosy customs officers. “What a waste,” they say to each other in a language the American can’t understand, but Mohan and Sweeney are well aware of what they can get away with by setting up the usually wily blonde bombshell.
Sister Cecilia appeals for other reasons to the head priest, Father Sal Tedeschi (Alvaro Morte). He tries hard to relate to his latest import, trusting that like her he had an unusual path to Our Lady of Sorrows, initially studying biology before devoting himself entirely to God. Although religion and science don’t usually mix, they become a new combination for the Molotov cocktail created by writer Andrew Lobel when Sister Cecilia gets morning sickness.
“Immaculate” really takes off in its second half — or, as the film announces, in the second trimester of her pregnancy — once doubts grow inside Cecilia and her stomach. Even before Father Sal and his flock become more daring in their attempts to prevent her from leaving the building with her miracle on the way, she proves to be more resourceful and less timid than they think she is as the film develops into a taut survival thriller.
In order to get there, the film relies too heavily on a few well-executed but empty jump scares and unusually loud sound effects to destabilize, along with the menace of these characters in black hoods and red face masks who look cool but Its existence and reach have never been fully addressed. Far more effective is the display of the convent, beautifully photographed by “Columbus” director of photography Elisha Christian as an endless series of corridors through which Sister Cecilia must eventually escape. When you rarely see the same area twice, the effort seems futile.
After auditioning for the role a decade ago, Sweeney eventually produced as well as starred in “Immaculate.” Not only does she now have the star power to get the green light for such a project, but the film shows how she can really carry the screen. After dispatching one of her kidnappers, a long shot that covers the gamut of emotions from what she did to whether she saved herself by her actions with the camera remaining on her face is an extraordinary shot, surpassed only by a thrilling finale where her reactions say it all – and perhaps The film is rated NC-17.
Benedetta Porcaroli, who distinguished herself with her sinister performance in Carolina Cavalli’s comedy “Amanda,” also makes an impression as Sister Gwen, Sister Cecilia’s only friend at the convent. She’s not about to bow down to anyone, and although this is a lesson that takes time for Sister Cecilia, a small part of the Immaculate One’s satisfaction comes from seeing someone find faith in themselves.