Prey for the Devi Movie Review

Once upon a time, a familiar narrative unfolded - a representative of the Catholic church embarks on a profound internal struggle to rescue the tormented soul of a possessed child. Prey for the Devil endeavors to rejuvenate this age-old tale by introducing a promising female exorcist, but unfortunately falls short of delivering a cohesive and chilling narrative that transcends the realm of clichéd possession horror tropes.

Set in 2018, the prevalence of demonic possessions has reached unprecedented levels, prompting the Catholic Church to establish specialized schools where priests are trained in the sacred Rite of Exorcism, while nuns dutifully care for the afflicted at their bedsides. Sister Ann (Jacqueline Byers) finds herself inexplicably drawn to the role of an exorcist, going so far as to surreptitiously attend exclusive classes taught by Father Quinn (Colin Salmon), much to the disapproval of her superiors. As she persistently pursues her studies in exorcism and takes a personal approach to nursing, Sister Ann finds herself thrust into the forefront of a battle to save young Natalie (Posy Taylor) before her possession becomes irreversibly fatal.

Robert Zappia's screenplay leans heavily on exposition rather than visual storytelling when it comes to worldbuilding and narrative development. Sister Ann is portrayed as a chosen one with a haunting past linked to possession, yet Prey for the Devil fails to provide a concise and compelling explanation for the origins and mechanics of her gift. Instead, Ann's abilities appear to stem from elusive concepts of empathy and deeply ingrained guilt. This deficiency in substance and purpose permeates the entire film, resulting in a series of underdeveloped plot points.

One such example is Dr. Peters (Virginia Madsen), who extracts information from Sister Ann during their therapy sessions. Dr. Peters also works for the school, overseeing the evaluation of confined patients to ascertain whether their affliction is demonic or rooted in mental illness. Although this premise is communicated through straightforward dialogue early on, it is never fully explored, leaving audiences wondering why a skeptic would assume such a position or why the Church would recruit someone who contradicts their ideology in their pursuit of exorcism. Dr. Peters remains nothing more than a narrative device, used to push Ann toward an ambiguous and incoherent path of greatness. Even the exorcisms themselves lack definition, with priests often resorting to a mix of horror and hesitation until Sister Ann's empathetic nature compels her to take charge.

Director Daniel Stamm attempts to fill the gaps in the story with jump scares and horror imagery, often resorting to tactics reminiscent of The Last Exorcism. Stamm employs a range of cheap scare tactics interspersed with moments of exaggerated emotional revelations for Sister Ann. The signs of possession are not immediately apparent, but rather a vague inkling that someone might be harboring a demon, akin to a tingling spider-sense. This approach aims to catch audiences off guard when the suspected individuals suddenly contort their bodies, their jaws unhinge, and their eyes roll back.

Prey for the Devil is a jumbled and bewildering experience, lacking coherence and sensibility. The more one contemplates the film, the less sense it makes. The rules governing its supernatural elements, or the lack thereof, lack precision, leading to a mishmash of conflicting themes such as the clash between medicine and religion. Another perplexing subplot revolves around Father Dante (Christian Navarro) and his guilt-ridden sister, who grapples with the aftermath of an abortion resulting from rape. Meanwhile, Sister Ann inadvertently causes harm to those around her, yet paradoxically earns praise as a divine savior. These inconsistencies might be easier to overlook if the horror itself possessed any genuine potency.

It appears that Prey for the Devil pats itself on the back for introducing the novel idea of a female exorcist and diversity within the school, but stops short of truly challenging the established norms. Beneath the gimmick lies a vacuous and hollow exorcism horror film, a reiteration of countless others we have witnessed before. Instead of grappling with matters of faith, the protagonist battles with guilt and trauma, while a young possessed girl serves as the battleground, complete with all the expected trappings of possession. When watching Prey for the Devil, there is one thing that rings true - you'll find yourself praying for the Devil to bring an end to this bewildering and uninspired spectacle.