Immaculate (2024)

The film goes further than typical convent horror by critiquing the church's exploitation of women, with a committed lead performance from Sydney Sweeney that elevates it. It builds to a gruelling and brutally effective climax.

Mohan’s cheeky, freaky nunsploitation riff is lushly designed and takes the genre seriously with ironic wit, building to a feral climax where Sweeney embodies animal honesty. The swift film drenches every frame in color, light, and shadow while evolving into a taut survival thriller.

The film abandons elevated horror aspirations for brash exploitation in its final act, delivering some of the gnarliest violence in the subgenre. Sydney Sweeney's vibrant, impassioned performance grounds the insanity and transforms the story into one of self-empowerment.

The film is presented as a nasty nunsploitation thriller that reimagines Rosemary’s Baby as a giallo set in a convent. It singles out the sharp political message about female bodily autonomy and the church’s patriarchal control.

The critic finds the film a fun, nasty throwback to nunsploitation and gialli that comments on female bodily autonomy. Sweeney’s knowing star persona and expressive eyes are singled out for making the material work.

The film is uneven and sometimes predictable but works as Catholic horror thanks to its subgenre button-pushing. Sydney Sweeney is fantastic and committed, elevating the material with her fearless performance as the central nun.

The film is tense and gruesome yet tasteful and elegant, functioning more as an art film than full-on nunsploitation or giallo. Sydney Sweeney delivers a spectacular central performance that engages on an elemental level.

This gory nunsploitation horror is a scary and stomach-churning romp with effective shock tactics and strong sound design, but it lacks human empathy and character depth. Sweeney shines as a resilient heroine who knows how to scream.

The review finds the film a slightly underwhelming take on the nunsploitation genre with a derivative plot. It singles out Sydney Sweeney’s committed performance and scream as the standout element.

This is described as a slight but mostly effective horror that reunites Sweeney with her previous director. It singles out the magnificently deranged climax as the moment that makes the whole film worthwhile despite derivative influences and an underbaked script.

The review notes the film’s slow pacing and silliness in the first half but praises the bloody, rage-filled climax and Sweeney’s performance in the finale.

The film is called a workmanlike monastery horror that Sydney Sweeney turbocharges with her charismatic performance. It singles out her arc from innocent novice to blood-caked avenger as what makes the watch oddly habit-forming.

Sydney Sweeney delivers an impressive lead performance in this choppy horror about a pregnant novitiate nun, but the film emphasises thudding shocks over atmospheric mood and stumbles in its payoff. The cast saves it from worse flaws.

The nun horror movie is awful and fails to deliver on its premise. It is still somehow better than similar entries like The Nun.

The film attempts a throwback to Italian horror and commentary on bodily autonomy but lacks visual flair and thematic depth. Sydney Sweeney delivers a committed performance as the lead nun, particularly in the finale, but the surrounding execution feels underambitious and flat.

The review calls the film a bland, unoriginal horror that fails to distinguish itself from other religious horror entries. It singles out the dull, predictable affair built on inconsequential jump scares and a half-baked screenplay.

The film is cartoonish and fussy, relying on jump scares and an illogical plot that fails to engage. It works better in its B-movie camp moments, but even Sydney Sweeney's performance cannot save the overall effort.

The slickly diverting horror-thriller features a plucky heroine and an irreverent twist, with Sydney Sweeney turning a potentially thin character into a compelling survivor through her sly, full-throttle performance. Director Michael Mohan delivers a scare-fest with enough narrative ambiguity to provoke discussion.

The critic sees the premise as promising but faults the director for ogling Sweeney and relying on predictable jump scares and hokey plotting.

The reteaming of Mohan and Sweeney offers a lurid delight as an enjoyable if uneven horror film with a captivating star turn and a hell of an ending. It evolves into a taut survival thriller in the second half, highlighted by extraordinary long takes and a riveting finale.

The critic raves about Sydney Sweeney's performance as the standout, calling it her greatest yet, in a bold, brutal horror film with dynamic scares and strong direction and visuals.

The critic highlights Sweeney's compelling, committed lead performance as the standout in this nunsploitation-tinged religious horror with a shocking final act. While it leans on familiar tropes and jump scares, the film smartly updates the genre with timely themes of bodily autonomy and packs a memorable punch.

The critic hails it as the first great horror film of 2024, praising Sweeney's committed and believable performance especially in the bold ending, and the film's entertaining, fun direction with effective jumpscares and gore.

The critic highlights the film's committed throwback nunsploitation style with graphic violence and sleaze, beautiful cinematography, and Sydney Sweeney's captivating, unshowy star turn as its strongest elements.

The critic praises Sydney Sweeney's committed lead performance and the film's striking visuals and sound design but finds the storytelling haphazard and lacking depth or substance beyond its influences.

The critic finds the film struggles with overplayed tropes and lacks genuine horror despite good visuals and an unconventional ending. Praises the cinematography and the ending twist but criticizes narrative and character development.

The critic finds the film dour and humorless, stuck in a frustrating middle ground between arthouse and grindhouse, with poor characterization and dialogue, though it ends strongly with some effective horror violence.

The critic views the film as a pointed, unsubtle allegory about patriarchal control over women's bodies in a modern context, praising Sweeney's shift to a gonzo final-girl performance full of fury. Mohan’s direction is often lurid and reliant on jump scares, falling short of psychological depth but delivering a bloody, entertaining third act.