In religious horror The Unholy, Catholic priest Father Michael (Ben Cross) tries to talk a suicidal man, Claude (Peter Frechette), out of jumping from a tall building, but -- in what proves to be a very effective scare (sadly, the only one in the film) -- the 'jumper' turns into a monster and pulls Father Michael out of the window. Splat! Or so one might think. Somehow, he survives his seventeen storey fall onto the sidewalk, leading his superiors to believe that he is the 'chosen one', destined to fight a demon known as The Unholy, which manifests every year during Easter to feed on the souls of virgins and priests. Unaware of his preordained path, Father Michael is appointed to the St. Agnes parish, where the previous two priests were killed in mysterious circumstances, their murders unsolved. Investigating the incidents, he slowly unravels the terrible truth...
Despite a promising opening, The Unholy is, for the most part, an incredibly dull movie, director Camilo Vila opting for solemnity and 'style' over entertainment value (and by 'style', I mean lots of neon lighting and a horrible '80s sax/synth soundtrack). It's scene after scene of mind-numbingly boring guff, as Father Michael encounters trendy Satanists at a local nightclub (owned by loathsome entrepreneur Luke, played by William Russ), gives sanctuary to pretty barmaid Millie (Jill Carroll), and looks concerned a lot. There's nary a scare to be had (except for Luke's shirts, which are frightening in the way that only '80s fashion can be). Thankfully, Vila changes tack for his finalé, which almost makes the slog worthwhile...
In an excess of gore, nudity and shonky special effects, Father Michael discovers Luke's eviscerated body inverted on a cross, Claude returns to vomit blood before bursting into flames, and the priest finally comes face to face with The Unholy, which emerges as a naked woman to tempt him, but eventually transforms into something far less appealing: two tiny demons and a monstrous dog thing. After lots of craziness (which includes Michael being crucified, a random shot of teeth being drilled and the floor of the church opening up), Michael calls upon God for strength, and sends the Unholy back to hell (in the film's funniest moment, one of the midget demons explodes as it runs away). Triumphant against the forces of evil, Millie helps the now blind priest out of the church as a statue of Mary weeps tears of blood (don't ask why: logic left the building a while back).
4/10, plus a generous bonus point for the last twenty or so minutes - if only the whole film had been so over the top.
Despite a promising opening, The Unholy is, for the most part, an incredibly dull movie, director Camilo Vila opting for solemnity and 'style' over entertainment value (and by 'style', I mean lots of neon lighting and a horrible '80s sax/synth soundtrack). It's scene after scene of mind-numbingly boring guff, as Father Michael encounters trendy Satanists at a local nightclub (owned by loathsome entrepreneur Luke, played by William Russ), gives sanctuary to pretty barmaid Millie (Jill Carroll), and looks concerned a lot. There's nary a scare to be had (except for Luke's shirts, which are frightening in the way that only '80s fashion can be). Thankfully, Vila changes tack for his finalé, which almost makes the slog worthwhile...
In an excess of gore, nudity and shonky special effects, Father Michael discovers Luke's eviscerated body inverted on a cross, Claude returns to vomit blood before bursting into flames, and the priest finally comes face to face with The Unholy, which emerges as a naked woman to tempt him, but eventually transforms into something far less appealing: two tiny demons and a monstrous dog thing. After lots of craziness (which includes Michael being crucified, a random shot of teeth being drilled and the floor of the church opening up), Michael calls upon God for strength, and sends the Unholy back to hell (in the film's funniest moment, one of the midget demons explodes as it runs away). Triumphant against the forces of evil, Millie helps the now blind priest out of the church as a statue of Mary weeps tears of blood (don't ask why: logic left the building a while back).
4/10, plus a generous bonus point for the last twenty or so minutes - if only the whole film had been so over the top.