The Sister Act just got a whole lot weirder with Blumhouse Production’s most recent film, The Nun. A film with a plot so clichéd, characters so one-noted, and soundtrack so overbearing, I believe The Nun is an unintentional parody of itself.
The film stars Demián Bichir and Taissa Farmiga as a priest and a nun in training, respectively. They’re sent by the Vatican to investigate an isolated Romanian abbey where a young nun mysteriously committed suicide. Quickly discovering the true nature of their visit, that the abbey is actually haunted by an evil entity that takes the form of a nun, they attempt to confront the beast and defeat it for some reason.
The Nun continuously tests how far we the audience are willing to suspend our disbelief, all for the sake of cheap jump scares. Some moments are so ridiculous and void of intelligible thought that it felt like the film was purposefully trying to test my patience. As if the filmmakers were fully self-aware of how corny, desperate, and melodramatic everything is.
And if you weren’t convinced by my testimony of this film’s ludicrousness, The Nun goes as far as to include the actual blood of Jesus Christ as a tool for defeating the evil. The blood, kept inside a relic that looked like the Holy Hand Grenade from Monty Python, has the power to seal a portal to hell that was accidentally opened by Nazis during WWII. Except, of course, when the relic has no power at all; since The Conjuring series typically lacks consistency with its logic.
The characters were as bland as they come, with no establishment of their personalities or their motives. It’s almost impossible for me to elaborate any further on this topic because there’s no information to go from, aside from some obvious foreshadowing that turns out to be obvious foreshadowing. It’s a shame too, because the cast (while not perfect) does their best to give strong and convincing performances. But when you’re not given a reason to care about these people in the first place, it makes for all-around poor character development.
The only particularly good aspect of The Nun was the stylish cinematography, which seemed to have at least an inkling of artistic vision. The location and set designs were moody and gave off a naturally spooky vibe. However, even the cinematography had its limitations. The Nun is filled with so much scary imagery that it looks more like it was set in a dungeon than an abbey. Not to mention the humorously absurd number of Christian crosses strewn about in the background and foreground, to of course tell us how possessed this place is.
Often scenes intended to be frightening would be accompanied by a loud musical score (this includes the divine chanting of monks, for some reason). The score was so domineering over the entire movie that over time it became quite comical. Playing at such inopportune times that it would’ve fit better in something like Young Frankenstein (cue loud neighing of horses).
Audiences frequently shoot down well-crafted horror films like It Comes at Night, The Witch, and Hereditary, citing them as boring, weird, and lacking in scariness. This mentality, coupled with a fundamental misunderstanding of what true horror is, has led to a breeding ground of mediocre scary movies. With very little wiggle room for original frightening concepts to make it into the public eye.
This tragic “assembly line” sentiment culminates into films like The Nun, which take all aspects of horror filmmaking to the nth degree. So illogical, basic, and blandly spooky, it’s practically all a big joke.
The Verdict: F