Directed by:
Rupert WainwrightCinematography:
Jeffrey L. KimballCast:
Patricia Arquette, Gabriel Byrne, Jonathan Pryce, Nia Long, Thomas Kopache, Rade Serbedzija, Enrico Colantoni, Dick Latessa, Portia de Rossi, Patrick Muldoon (more)VOD (1)
Plots(1)
Frankie Paige (Patricia Arquette) is hairdresser who begins to suffer from the wounds of Christ after receiving a rosary that belonged to a deceased priest. A Vatican investigator, Father Andrew Kiernan (Gabriel Byrne), is sent to examine her case and discovers that she is writing a lost gospel that could threaten the Church. As Frankie's condition worsens, Father Kieran tries to save her from the forces that want to silence her. (Umbrella Entertainment)
(more)Reviews (4)
Basically, it confirmed what I though, that Stigmata has a pretty difficult premise for horror. The bloody wounds of Christ appear on a girl, so what? The viewer might not care about it and it won’t cause any fear. That’s why the film in the second half introduces some exorcism and conspiracy elements, which I gratefully welcomed. Nothing great, but doesn’t hurt, either.
()
A spectacular music-video-style movie with a Satanic theme and a rhythmic soundtrack. But the enthusiasm elicited by the visuals and sound fades the moment the lights go up in the screening room. And the potential to appeal to the viewer with anything else in cinematic terms remains frozen in place.
()
A visually stunning and skillfully executed film, relying not only on demonic visuals, but also on an interesting premise and a solid performance by Patricia Arquette. As a pure atheist and a non-expert in Biblical mythology, the film does not strike me as controversial or shocking, but there is certainly no shortage of dark atmosphere and gripping scenes of stigmatic wounds and exorcism, which are truly impressive in their necessary dynamism and emphasis. The soundtrack is surprisingly powerful, and you will certainly be scared at least once.
()
The craftsmanship is very good, but it’s not a major or memorable work, really. Formally, it’s disarming – the visuals are gorgeous and some of the shots could be cut out and displayed in a national gallery – but those emotionally flat recyclates of a thousand and one Satanic motifs would have a stronger appeal only if all the filmmaking components worked together flawlessly, or if the atmosphere was overwhelmingly evoked in an authentically synchronised story, and that wasn’t the case here. 60%
()