It is the first time that she can be seen as even marginally creepy. Some redemption can be found in Vatican’s finale, the showdown between the possessed Angela and the exorcist. Grace: The Possession (2014) for example, much like Franck Khalfoun’s 2012 remake of Maniac (1980), was shot predominantly through the main character’s P.O.V. Are they trying to make us beg for that Exorcist remake that they keep threatening the world with? There have been few arguably valiant attempts at originality. I despair people because there seems to be a steady rain of unimaginative, uninteresting possession movies pissing down on us from the U.S.
#The vatican tapes trailer 2014 movie
After this flashy segment, all excitement dissipates as the movie plunges into mediocrity.ĭevoid of any tension or dread, flares of interest only spark when Vatican borrows elements from similarly themed films, such as Richard Donner’s The Omen (1976) and its sequel Damien: Omen II (1978). It opens with all bells chiming and whistles screaming, bombarding the senses with supposedly genuine news reports of spiritual phenomena, one of which I’m pretty sure is the hospital scene from The Devil Inside (2012) in which the lead actress bends in half, backwards. I knew enough not to hope for a Dan Brown-style supernatural thriller, but would it have killed them to at least try? Luckily the implied found footage element is kept to the bare minimum, present only it seems to make the title of the movie appear relevant.
Perhaps my expectations were raised too high by names like Michael Peña or Djimon Hounsou. Evidently this is some of the criteria necessary to bring about the coming of the Anti-Christ. Martin, Michael Peña, Olivia Taylor Dudley, Possession, The Vatican Tapes, Tom Rosenberg, US Cinema, VaticanĪngela Holmes is the daughter of a slut, who awakens from a coma after 40 days. Horror, Alison Lohman, Chris Cowles, Chris Morgan, Christopher Borrelli, Demons, Djimon Hounsou, Dougray Scott, Exorcism, Gary Lucchesi, Geraldo Mateo Madrazo, Joseph Bishara, Mark Neveldine, Michael C.
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