Immaculate is tremendously haunting in its storytelling, triumphantly taking a sharp turn on our expectations; while simultaneously being accompanied by a few typical jump-scare moments modern horror has become known for. Michael Mohan has crafted quite the atmosphere within his first foray into the horror genre, dawning some powerful sound design and a score to match.  

 

Marking Mohan and Sydney Sweeney’s third collaboration together, Immaculate has Sweeney take the lead, as Cecilia, a woman who’s newly arrived at the convent along the Italian countryside. As she becomes one with their ways, a peculiar thing occurs to her well-being and Cecilia may become host for much more than she ever bargained for. 

 

Mentioned by Sweeney at SXSW 2024, she has been interested in making this project for nearly a decade and in terms of the horror genre it’s clear why someone would gravitate towards something as fulfilling as this tale. Alongside Sweeney’s standout performance, she is surrounded by immense talent that captures the eerie nature of what’s happening all around her. From the fantastic costume design that makes up the residents of the convent and beyond, to the frightening practical effects that truly makes the audience unnerved by the possibilities that lie ahead, the feature understands how to effectively elevate its horrific setting. 

 

As mentioned from the jump, Immaculate does have some tricks up its sleeve in terms of jump-scares, but they don’t come as a disservice to the film as a whole. The cinematic build to the final act is a slow crawl of atmospheric set pieces and character building moments, but when that third act hits, things launch into full throttle. For a horror on the shorter side, Mohan utilizes every second to his advantage - especially when it takes Sweeney’s Cecilia physically and mentally to the peak of inferno.

 

Where the first half of the film may be incredibly tense, equally satisfying and relentlessly disturbing. The second may become numbing to watch, brutal and have instances that are purely not for the faint of heart. Lay everything you know about nuns in horror aside and go into Immaculate as dark as it possibly can be entered. By the time the credits roll, its final moments will either distress or delight you, but nevertheless be cordially invited to stay in your psyche for some time after.