A Polish film about a detective’s investigation into monastery disappearances provides some truly chilling atmosphere and creepiness before a final act that unleashes hell. The film sets an expectation in the opening scenes that the audience would be watching another variant on the Omen/Rosemary’s baby, but that notion is expunged by the second act. The first third of the film is a slow building escalation of chilling scenes and moments that certainly play tricks with expectation even if some of them retread similar ground. We are limited to the detective’s perspective for much of the runtime, so subject to the same deception and subterfuge being played upon him as he tries to uncover the secrets hidden within the edifice and clergy. There are a number of predictable twists, but the movie defies overal predictability. Once the nature of the events is unveiled, the movie takes a turn into far more horrific elements and doesn’t relent through a rather inspired ending. While not as glossy or polished as some hollywood productions, this actually works to the film’s favor as it has more of a gritty and grounded feel. The monastery feels authentic and downright dripping with ominous secrets, the actors world-weary and jaded and while the effects lack polish, they are impactful and used effectively. On the whole this is a quality entry that starts slow, but builds into a riveting finale and a gem for fans of the genre.
Ostatnia wieczerza (Hellhole) (2022)