THE UNHOLY BLU-RAY review

Following a near death experience that he inexplicably survived, Father Michael (Ben Cross) is given his own parish, St Agnes. There, he meets Millie (Jill Carroll), a teenage runaway who has become involved with a local nightclub owner with links to the occult. As Father Michael tries to save Millie and determine if the demonic goings-on are a hoax, he is forced to question the strength of his beliefs.

One of a number of religious films released in the years after The Exorcist, The Unholy takes the familiar idea of a priest trying to save a young woman but sets itself apart from the opening scene, which sees Father Dennis, the former priest for St Agnes, praying at the alter as a red-headed temptress in very see-through clothing approaches him for the last kiss he will ever have. With its garish lighting and liberal use of wind machines its like a more biblical version of Bonnie Tyler's Total Eclipse of the Heart music video, but also with more boobs.

It turns out that when he died, Father Dennis was also trying to save Millie from her association with Luke (William Russ), the owner of a local club called The Threshold that performs on stage ritual sacrifices of debatable authenticity. Luke, a weird Billy Idol-esque bad boy with a strong 'N'awlins' drawl denies having any real association with the occult and also wants to save Millie. Is Luke really who he seems or is it possible she's leading both of them on?

It's inevitable that any horror with a heavily religious theme is going to be compared to The Exorcist, but to give it its dues, The Unholy does its best to offer something different than a simple clone of that film. At times it lacks the subtlety or restraint of The Exorcist, and that had a teenage girl masturbating with a crucifix. This is more in B-movie territory, the kind of schlocky nonsense that in the early 90s you'd find in the VHS collection of your mate's older brother, with corpses bursting into flames and voluminous bloody vomit splashing down at the foot of the alter. Nice.

It also relies more on some gloopy creature effects, that work to a varying degree in the context of the story. Some of the scenes of demonic possession are exemplified by billowing curtains and torn up pieces of paper flying around, but by and large this is a well shot film with a nice visual style. Hal Holbrook, Ned Beatty and Trevor Howard pop up in small roles, but the film belongs to Ben Cross who really sinks his teeth into the role of Father Michael, giving an admirably weighty performance that keeps the film from slipping into farce. With shades of Suspiria and The Wicker Man, The Unholy is an enjoyably pulpy take on the religious horror movie.

Verdict
3/5

Special Features-
- Audio commentary from director Camilo Vila
- Isolated score and interview with composer Roger Bellon
- Audio interview with production designer and co-writer Fernando Fonseca
- 'Sins of the Father' with Ben Cross
- 'Prayer Offerings' with production designer and co-writer Fernando Fonseca
- 'Demons in the Flesh', the monsters of The Unholy
- Original ending with optional commentary from producer Mathew Haydon
- Theatrical trailer
- TV and radio spots
- Storyboard and stills gallery

THE NEON DEMON review

Starring Elle Fanning as a young woman eager to make it in the cutthroat world of modelling, Refn's divisive commentary on the fashion world arrives in cinemas.

After receiving a reception at Cannes that can be described as mixed at best, The Neon Demon hits our cinema screens in typical Nicolas Winding Refn fashion; sharply tailored by master craftsmen and sealed with a monogram.

The Neon Demon begins with the startling image of Elle Fanning's Jesse lain across a chez lounge with blood across her neck. However, this isn't the scene of a gruesome murder; this is a fashion shoot. It's a cold, often heartless world we're introduced to. In the waiting room for Christina Hendricks' powerful executive, she points at a girl and tells her to go without any pleasantries, just an off hand dismissal that could destroy the hopes and dreams of a young girl.

Taking its cues from other slightly barmy, hyper stylised takedowns of their respective industries like Black Swan and in particular Showgirls, what at first appears to be all surface soon flips the page to reveal something much darker hiding in the centrefold.

Like Refn's Drive and Only God Forgives before, The Neon Demon uses a lurid colour palette to paint its picture. Among the reactions from Cannes was the accusation that this was little more than sumptuous wallpaper, but it's a truly beautiful film to look at with undeniable substance under the surface. Refn's influences are clear to see, with David Lynch's Lost Highway and Dario Argento's Suspiria being obvious touchstones.

Fanning has an almost ethereal quality about her, and exhibits beauty in an almost alien way. She deserves praise for creating nuance in her performance. With her impressively long, swan like neck and skin like milk, she could easily fit in with the more vacuous people this film depicts. Like the film itself, which could have been just shallow and pretty to look at, she adds layers and hidden depths to Jesse's seemingly innocent small town girl in the big city. When one of the more fragile of her contemporaries comments that "nobody likes the way they look", she takes her down with a simple "I do".

Among the supporting characters is Jena Malone's Ruby; a seasoned pro who's seen how the industry can chew up fresh meat and spit them out again. Malone is outstanding in the role, bringing forth a palpable sense of desire in an often cold and uncaring world.

There's gender politics at play here too. Although the cast is almost completely female, the roles occupied by men are those of abusive power. They are the photographers that demand that Jesse strips naked. They are the designers who refuse to watch some models as they walk for them. They are the motel owners who take advantage of people in a vulnerable situation.

One would assume this was a knowing wink to the audience from Nicolas Winding Refn about his role as director. After all, this is a film full of mirrors.

A poison pen love letter to the fashion industry with some beautiful imagery, as it pushes forward into its horror infused final act The Neon Demon is a hallucinatory nightmare that needs to be experienced to be believed.

Verdict

4/5