Two pop-cultural phenomenons are occurring, simultaneously. One is the influx of nun-focused, religious horror films skewering Catholicism, and the second is the ascending celebrity profile of actress Sydney Sweeney. The former is on the verge of outstaying its welcome; The latter has been exciting to watch unfold. At just age 26, Sweeney has 53 acting credits, played a part in two hit shows (Euphoria and The White Lotus), and has two major producing credits to her name. Her performances have been varied and layered. From her subtle character work in HBO’s Reality to her physical comedy in Anyone But You and her primal emotionality in Immaculate, Sweeney’s performances have been varied and layered. And, lucky for us, the multi-hyphenated talent is just getting started.
Immaculate Is a “Good Enough” Take On the “Nunsploitation” Subgenre
Following the dismantling of her perish in America, Sister Cecilia (Sweeney), a novice nun, travels to the beautiful, Italian countryside to join a prestigious convent. Following Cecilia’s arrival, her insatiable curiosity unearths some sinister practices (and rituals) at her pristine new residence. Her place of sanctuary soon morphs into a house of horrors with a nefarious agenda for her presence. Sound familiar? That’s probably because Immaculate recycles ideas and tropes from the many other films of its ilk: whispers in the night, forbidden chambers, unreliable leaders, etc. Admittedly, this is all captured with a notable degree of sophistication and pretty packaging including heavy contrasts of light and dark, picturesque landscapes, and stunning production design. Still, the undeniable craft on display can’t adequately distract from the film’s uninspired narrative beats.
What are some of Immaculate‘s redeeming qualities?
I found myself a few steps ahead of the story, with each revelation less shocking than the last. For a film that generates an organic sense of foreboding, its overreliance on jump scares is not just disappointing, but unnecessary. The final act goes a long way in reclaiming the goodwill the first two acts nearly squandered. The last 30 mins are pure, unadulterated adrenaline – primal, kinetic, and harrowing – with a jaw-dropping climax. Cecelia’s feeble, docile demeanor unravels into something animalistic and unnerving. Sweeney’s work here joins the highly-coveted ranks of contemporary “Scream Queens” like Mia Goth in X / Pearl, Jenna Ortega in Scream, and Florence Pugh in Midsommar. Despite Immaculate’s many sins, it remains a taut, elegantly shot, and blood-soaked nail-baiter elevated by a devilishly good Sweeney performance.
For more recommendations from the nunploitation sub-genre, check out The Nun 2 , Agnes, Black Narcissus, and The Devils.
