Name: The Unholy
Genre: Horror, Mystery
Released: 2021-03-31T00:00:00+00:00
Cast: Jeffrey Dean Morgan, Cricket Brown, William Sadler, Katie Aselton, Cary Elwes

The opening scene of The Unholy (2021) is a moment of supposed divine intervention: Alice, a young hearing-impaired girl, kneels in prayer, her lips moving silently—until suddenly, she speaks. This moment, meant to be miraculous, sets the stage for Evan Spiliotopoulos’ directorial debut, a film that grapples with the sacred and the profane but ultimately stumbles into familiar territory.

Based on James Herbert’s 1983 novel Shrine, The Unholy follows Alice (Cricket Brown), who claims to have been visited by the Virgin Mary. Her sudden ability to hear, speak, and heal the sick draws a frenzy of attention, including that of disgraced journalist Gerry Fenn (Jeffrey Dean Morgan). As miracles—and disturbing events—multiply, Gerry investigates whether Alice’s powers are divine or something far more sinister.

The film’s central premise is compelling: it taps into the tension between faith and skepticism, a theme explored in countless religious horror films. However, The Unholy fails to elevate itself above its peers. The script leans heavily on well-worn tropes—possessions, exorcisms, and a villainous entity masquerading as divine—without offering anything fresh or unsettling.

Jeffrey Dean Morgan delivers a solid performance as Gerry, bringing gravitas to the role of the cynical journalist. His character’s arc—from disbelief to reluctant belief—is the film’s most engaging thread. Morgan’s portrayal is grounded and nuanced, making him the emotional anchor of the film. However, Cricket Brown’s portrayal of Alice is uneven; her performance oscillates between genuine innocence and awkwardly staged moments of supposed divine intervention.

William Sadler, as Father Hagan, provides a strong supporting performance, offering a moral compass amidst the chaos. His scenes with Morgan are some of the film’s most compelling, as they debate the nature of faith and the supernatural. Katie Aselton, as Natalie Gates, adds a layer of complexity to the story, representing the skepticism and fear that permeate the small New England town.

The film’s technical craftsmanship is competent but unremarkable. The cinematography is functional, with few standout visuals or inventive compositions. The score attempts to build tension but often feels derivative, borrowing heavily from other horror films. The pacing is another issue; the first half of the film moves slowly, while the climax rushes through key revelations without sufficient buildup.

Where The Unholy does find some footing is in its exploration of the sacred-profane dichotomy. The film’s central question—what happens when the unholy masks itself as holy?—is intriguing, but it never fully explores the philosophical or theological implications of this theme. Instead, it falls back on cheap jump scares and predictable plot twists.

The film’s attempt to balance genuine Christian themes with horror elements is commendable, but it ultimately fails to reconcile these two aspects. The portrayal of Mary as a figure of both reverence and terror feels awkwardly forced, and the film’s reliance on profane imagery undermines its attempts at spiritual depth.

In comparison to other religious horror films, The Unholy falls short. Films like The Exorcist (1973) and The Conjuring (2013) successfully blend theological exploration with genuine scares, while The Unholy struggles to find its own voice. It lacks the psychological depth of Hereditary (2018) or the atmospheric tension of The Witch (2015), settling instead for a formulaic approach that has been done to death by countless other films in the genre.

The Unholy is not designed to be deep, but since glimmers of depth are present. The film’s exploration of faith and skepticism could have been more nuanced, offering a deeper examination of the characters’ beliefs and struggles. Instead, it settles for a surface-level treatment of these themes, leaving viewers with more questions than answers.

The film’s target audience is likely fans of religious horror who enjoy traditional possession stories and exorcism plots. However, even within this niche, The Unholy fails to stand out. It lacks the originality and creativity that would make it a must-watch for genre enthusiasts.

In the end, The Unholy is a missed opportunity. It has the potential to be a thought-provoking exploration of faith and fear, but it settles for being just another entry in the crowded field of religious horror.