After exploring the realms of superhero and romantic comedy, Sydney Sweeney, the versatile actress, adds another feather to her cap with the visually stunning and uniquely captivating film ‘Immaculate ‘. Directed by Michael Mohan from a script by Andrew Lobel, the film follows Cecilia (Sweeney), an American nun of unwavering faith, as she embarks on a new chapter in a remote convent nestled in the picturesque Italian countryside. What starts as a warm welcome soon becomes a nightmare, unveiling the sinister secret and unspeakable horrors lurking in her new home.
I first viewed “Immaculate” at the theater on the same day I watched the significantly superior “The First Omen.” Films depicting the offspring of Satan are not groundbreaking, yet it remains puzzling that film studios released these movies in such proximity. “Immaculate” is a film that left me feeling paradoxically torn. On the one hand, it’s hard to deny how Sydney Sweeney’s performance as Cecilia was utterly spellbinding; she guided us through her character’s emotional rollercoaster in a convent dripping with intrigue and shadowy secrets.
From a narrative standpoint and undeniably convenient, the Italian countryside’s compelling backdrop heightens the unsettling atmosphere long after the movie’s conclusion. As we delved deeper into the intricacies of convent life, I oscillated between admiration for the masterful construction of tension and fear and frustration with the narrative’s superficiality. Although it effectively layered dread upon dread, the outcome presented as a hurried cliché.
While ‘Immaculate’ showcases visually stunning moments and skillfully cultivates suspense, its overall substance falls short of its aesthetic appeal. Viewers may be dissatisfied with its tendency to prioritize style over narrative depth. For enthusiasts of atmospheric horror, the film may hold appeal, but the expectation of a gratifying resolution should be tempered.
Final Grade: C-
“Immaculate” is now available to stream on numerous platforms.
From his early days in the family group Wings of Faith, Mr. Gill was born to make music. However, as R&B fans know, Johnny Gill’s initial release with Atlantic Records failed to make a significant impact when it first came out. The 1983 self-titled debut showed a strong voice struggling to adapt to a studio that couldn’t properly utilize its power.
My introduction to Myron was with the song “Sistas” on the “Eddie” soundtrack in the summer of 1996. Before setting up his solo album, Myron would write classics for Mya and Dru Hill. “Destiny” was written by Myron and Tyrice Jones, and the latter was also producing. Set to a sample of Herbie Hancock’s “Come Running to Me”, the song explores how fate governs the formation of connections between people meant to exist from the beginning.
Music producers transitioning to a solo album is common in the music industry. For this week’s Second Listen Sunday, I want to revisit Sean Garrett’s solo debut, “Turbo 919,” released in 2008.