But Spiliotopoulos, best known for having a hand in workmanlike blockbuster scripts like Beauty and the Beast, Hercules and Charlie’s Angels, is a disastrously unsure hand behind the camera, never quite managing to conjure up even the slightest ounce of menace with dated, cheap-looking visuals and a distinct dearth of dread.
It’s exhaustively well-worn territory but the premise does initially offer up the vague hope of an interesting spin, exploring the danger of automatic, unquestioning faith and a clear, juicy example of the Martin Luther quote “For where god built a church, there the devil would also build a chapel”. Her miracles start to spread throughout the community but they rely on ultimate, unwavering belief in Alice’s new friend “Mary”, and when that is tested, all hell, or at least the most boring part of it, will break loose. His search takes him to a small New England town and Alice (newcomer Cricket Brown), a local hearing-impaired girl who claims she can now hear and speak because of a holy visitation. Plaudits are then earned for this but precious little else, writer-director Evan Spiliotopoulos taking an intriguing concept and doing the very least with it, disappointment soon turning to disinterest.īased on James Herbert’s 1983 novel Shrine, the plot follows disgraced journalist Gerry (Jeffrey Dean Morgan) as he tries to find a story worth getting paid for. But surprisingly here that isn’t the case and instead, The Unholy was actually in production as the pandemic struck, becoming one of the first films to grapple with the complexities of having to film around a deadly virus. It has the cursed aura of something shot three years ago, shelved and then dumped, a doomed hobble to the screen that’s become more commonplace in the last year as studios have understandably used the opportunity to offload their damaged wares.
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