‘ST. AGATHA’ Review

I am not a normal person when it comes to body horror. I do not shy away from the gore that some films put on full display. And Darren Lynn Bousman, the gore-heavy director of Saw II, Saw III, and Saw IV, is such a man that some shy away from. I have indeed heard much criticism for his use of gore, some saying it is used over substance of story. But I think if we can learn anything from directors such as Eli Roth, it’s that there is a balance. And St. Agatha, Bousman’s newest film mixing body horror with nuns, tries so hard to find it.

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For what it’s worth, the film is genuinely creepy. I think above all else, there are part of the film that are horrifying and for the right reasons. However, there just seems to be so much to take in, and not enough conciseness in how it’s put together. St. Agatha is a story of a wayward pregnant girl named Mary, who seeks refuge in a strange convent secluded in the middle of nowhere. The convent, unfortunately, seems to be much worse than her past of a drunken abusive father and a dead brother.

The good points are pretty evident right off the bat and stay constant the entire film. Firstly, as I said, this really is an extremely unsettling film. The acting is superb, especially the main villain Mother Superior played by Carolyn Hennesy. She is terrifying in the best way and I can’t praise her enough. The rest of the cast is just as wonderful, with everything hitting you right in the emotional centers of your heart.

The scene and design work is also spectacular, with this being the blockbuster film you want. I think there was a bunch of attention paid to authenticity here, and it shows awesomely. Most of the story elements pay homage and tribute to some old favorites such as Rosemary’s Baby and Suspiria. It toes the line of taking liberty with other sources, but it is still in homage territory so it gets the job done.

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The gore is there, and if it’s not your thing, I wouldn’t recommend the film. But body horror, is body horror, and if you like it, there is a ton to like.

However, there is a small low point. The music here does not help the film’s case. It’s loud, obtrusive and probably something that breaches strange territory and doesn’t add. It seems all too much overkill. I would expect Bousman to be a little more in tune with music, seeing as he had plenty of it on the set of Repo! The Genetic Opera. But he didn’t hit the mark here, and it’s one details that’s left wanting.

Overall, it’s a pretty nice film. It’s not perfect, and it certainly has some room for improvement, but I would see it again and if you like Bousman’s other work, it’s a good film to give a whirl.