‘Prey for the Satan’ Overview: To Hell With Clerical Sexism

Twelve years in the past director Daniel Stamm was thought of in some quarters as having revivified a subgenre with “The Final Exorcism.” That sleeper hit that was no basic, but it surely took itself significantly in the correct methods, as put throughout by a very good solid together with the estimable (and nonetheless underused) Ashley Bell. Since 2014’s much less profitable “13 Sins,” he’s been occupied with episodic TV work. Unsurprisingly, his first function in eight years marks a return to the overall terrain that labored for him earlier than.

“Prey for the Satan” gained’t doubtless spur enthusiasm equal to Stamm’s breakout movie, regardless of the relative novelty worth of being constructed round a feminine exorcist — one thing not so unprecedented (no less than onscreen) as billed, final yr’s Veracruz-set “The Previous Methods” being only one different instance. Nonetheless, even when it falls wanting being significantly memorable or scary, this can be a decently entertaining possession potboiler. With out a lot competing horror product within the theatrical market at current, it ought to do nicely sufficient with viewers looking for formulaic frights this Halloween weekend. 

Robert Zappia’s script opens with onscreen textual content informing us {that a} purported increase in demonic possession instances worldwide has led the Catholic Church to open a “Faculty of Exorcism” in Boston. That mixture seminary, dormitory and hospital for the “bothered” counts amongst its present college students Sister Ann (Jacqueline Byers), who’s transferred right here from a convent as a sole feminine trainee — although it’s nonetheless formally towards doctrine for a lady to carry out any of an exorcist’s features. Nonetheless she feels a calling in that course, not least as a result of she believes her personal violently abusive late mom (Konya Ruseva) suffered from demons extra literal than her identified schizophrenia.

Sister Ann pushes towards the Academy’s strictures, to the strict disapproval of 1 Sister Euphemia (Lisa Palfrey), however with various levels of encouragement from chief teacher Father Raymond (Colin Salmon) and the skeptically secular-minded Dr. Peters (Virginia Madsen). All should bend the principles a bit when Ann demonstrates an affinity for brand new affected person Natalie (Posy Taylor), a 10-year-old whose household fears she is possessed — and she or he certain acts prefer it. 

That our protagonist could also be some type of exorcizing prodigy is obvious when her fellow scholar and pal Father Dante (Christian Navarro) asks her to attempt relieving his equally bothered sister (Cora Kirk). However such addled souls are, it appears, only a means for “the Satan’s foot troopers” to entry what they actually need to seize and destroy: Sister Ann, apparently.

Why is that? Nicely, as a result of she’s “God’s chosen,” no matter which means. We by no means study the identify, historical past, or anything distinguishing concerning the demon inflicting the mischief right here: It’s merely a generic gadget to place characters by way of the identical mill of contortions, stunts, make-up and different grotesqueries Linda Blair endured half a century in the past. (No pea soup course this day trip, although.) 

William Friedkin’s unique “Exorcist” was terrifying as a result of it was so soundly rooted in the true world, populated by folks no much less horrified by what was taking place than by the truth that it even may occur. They tangibly felt the horror of rationality pulled out from beneath them like a rug. However motion pictures like “Prey for the Satan” (which is getting launched as “The Satan’s Gentle” in some territories) reside in a world of style tropes. Demonic possession is now not a mindblowing aberration, however an accepted path to acquainted soar scares and fantasy FX. There’s no whiff of originality right here, nor any sincerity that runs deeper than instructing the actors to not child the fabric. 

Nonetheless, these relatively good actors do certainly preserve a straight face, as does the movie total. And Stamm’s soar scares aren’t dangerous, as they go. He hasn’t made a really suspenseful film, however he’s prevented each dullness and unintentional laughs. This Bulgaria-shot manufacturing would, nevertheless, profit from richer atmospherics: Regardless of sufficient design contributions and a widescreen format, Denis Crossan’s cinematography has a considerably plain, televisual look. 

Byers is likable sufficient to make her heroine one we wouldn’t thoughts seeing reprised. But it surely stays to be seen whether or not this primary outing will linger in anybody’s reminiscence lengthy sufficient to generate the sequel we’re tipped (earlier than a rote “boo!” blackout) can be one thing within the thematic realm of “Sister Exorcist 2: Vatican Boogaloo.”