Director Christopher Smith (Triangle, Severance, Creep) has long walked the fine line between genre smarts and psychological thrills. With Consecration, he returns to familiar territory: isolation, trauma, and the gnawing sense that reality is unspooling by divine design—or perhaps something darker. Unfortunately, despite a stellar cast and evocative visuals, this theological thriller never quite delivers the clarity or momentum it promises.
At the centre of the story is Grace, played with icy restraint and wounded conviction by Jena Malone, who travels to a remote convent in the Scottish Highlands after the supposed suicide of her priest brother. It’s no spoiler to say she doesn’t buy the Church’s official line. What follows is a grim unpicking of spiritual rot, ancient rites, and personal demons—literal and otherwise.
Malone is a reliably magnetic presence, giving Grace a cold, coiled intensity. She’s in nearly every frame and carries the film with a quiet sense of fury, even when the script leaves her wandering in narrative fog. Danny Huston, meanwhile, brings a slippery, unsettling charm to his role as Father Romero—a man whose calm demeanour suggests he’s either a holy man or something far more manipulative. Their scenes together crackle with tension, even if the broader story never quite catches fire.
Visually, Consecration is arresting. Robert Adams’ cinematography makes the windswept cliffs and ancient stone interiors of the convent feel appropriately ominous and otherworldly. There’s a chilling stillness to the imagery, as though the land itself has been cursed. Smith knows how to set a mood, and he does so beautifully here, evoking The Ninth Configuration by way of The Nun.
But for all its atmosphere, Consecration stumbles under the weight of its convoluted plot. Flashbacks, hallucinations, religious visions, and a not-so-linear structure make for an increasingly confusing experience. Smith is no stranger to twisty storytelling—Triangle remains a standout in that regard—but here the puzzle-box elements feel murky rather than mind-bending. The story moves slowly, and its pacing often saps the tension that the setting and premise so deftly establish.
By the time the “revelations” arrive, they’re less shocking than they are baffling, tipping the film into a kind of Doctor Who-style timey-wimey terrain that doesn’t mesh with the grounded horror of its opening acts. It’s a tonal mismatch, and one that ultimately dulls the emotional impact of the finale.
Still, there’s something admirable about the ambition on display. Consecration isn’t content to offer up surface-level scares. It aims for spiritual unease and existential horror, and when it clicks, it’s genuinely unsettling. But in the end, the execution can’t match the ambition.
The Prognosis:
A gorgeous, well-acted descent into faith and madness—but one that loses its way somewhere along the sacred path.
- Saul Muerte
Consecration will be available on UK Digital Platforms from 16th June.
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