Sydney Sweeney is no stranger to genre films. My first exposure to her was with the excellent mini-series Sharp Objects and in Blumhouse’s surprisingly watchable Nocturne. Now, with the release of Immaculate, Sweeney is on the rise.

Sweeney, at just 16 years old, originally auditioned for Immaculate. However, the film did not proceed as planned at that time. Over the next decade, Sweeney’s career flourished, with her starring in notable projects like Euphoria and The White Lotus. This rise in prominence gave her the platform and influence to revisit the Immaculate project. She took a proactive role in its revival by reaching out to Andrew Lobel, the screenwriter, urging a script rewrite to better suit her current age. Sweeney embraced a producer role for the first time, assembling a team, securing financing, and playing a pivotal part in the hiring of a director. Her involvement didn’t stop there; she also assisted in various production aspects, including location scouting in Italy and contributing to the sound mix​.

Director Michael Mohan had a unique perspective on Sweeney’s ascent in the industry. Having cast her in the Netflix series Everything Sucks! before her breakout roles, Mohan observed her dedication and growth firsthand. Their professional relationship continued with The Voyeurs, and later, Sweeney approached Mohan to direct Immaculate. This move came after Sweeney, leveraging her success from Euphoria, secured the rights to redevelop Immaculate, showcasing her deep personal investment and creative vision for the project​.

Moreover, Sweeney’s performance in Immaculate drew from intensely personal experiences. She tapped into the feelings of violation she felt from real-life incidents of cyberbullying and online hate to deliver a powerful climactic scene in the film. This depth of personal connection to her role adds a layer of authenticity and intensity to her portrayal​.

In the crowded world of religious horror, Immaculate takes us on a rollercoaster ride of faith, frights, and the occasional absurdity. Immaculate tells the story of Sister Cecilia, played with a bewildering mix of naivety and nerve by Sweeney, who finds herself in the secluded Italian convent of Santa Maria della Salute (which, contrary to its name, seems to offer anything but health). The convent quickly reveals itself to be a playground for the macabre.

The film’s premise, that of a convent with a sinister past, might not sound particularly original, but Immaculate distinguishes itself with a deft blend of atmospheric tension and a narrative as twisted as a pretzel in the hands of a toddler. The horror elements are carefully curated, like relics in the Vatican, blending psychological terror with gore that’s tastefully done, insofar as gore can be considered tasteful.

Sydney Sweeney’s Sister Cecilia is a beacon of light in the murky darkness of the convent, delivering a performance that oscillates between wide-eyed innocence and fierce determination. Her character’s journey from naivety to a hard-earned resolve is as compelling as the scriptural debates on a Sunday morning talk show, albeit significantly more entertaining.

Supporting performances, particularly from Dora Romano as the enigmatic Mother Superior and Álvaro Morte as Father Sal Tedeschi, add layers to the narrative, creating a mosaic of characters that range from devoutly holy to devilishly twisted. The casting choices are inspired with each actor bringing depth and darkness to their roles.

The cinematography deserves praises of its own. The Italian countryside, with its lush landscapes and ancient architecture, is captured with a reverence. The visuals are simply incredible.

However, Immaculate is not without its sins. Some plot twists are as predictable as the collection plate making its rounds. Further, the film’s attempt to weave in themes of religious dogma and personal freedom sometimes feels a bit clumsy.

In essence, Immaculate is a film that marries the sacred with the profane, the divine with the dreadful. It’s a definitely worth checking out for fans of the genre, offering plenty chills and performances that could invoke an “Amen!” from the audience. As for its place in the canon of religious horror films, Immaculate may not be the Second Coming, but it’s certainly among the better ones. In the end, it leaves us with more questions than answers, a lingering sense of unease, and a renewed appreciation for the daylight.

Director: Michael Mohan
Writer: Andrew Lobel
Released March 22, 2024