After the alleged suicide of her priest brother, Grace travels to the remote Scottish convent where he fell to his death. Distrusting the Church’s account, she uncovers murder, sacrilege, and a disturbing truth about herself.
I typically find myself unimpressed by supernatural thrillers, especially those produced on a limited budget. Even though atmospheric settings can enhance these films, they’re often used as a crutch, overshadowing the need for a substantial story. While the actors usually deliver performances that serve the script, there’s a noticeable pattern: these movies rely excessively on their environments—shadowy hallways, underground rooms, and cellars—to push the plot along. Although these features help establish a specific tone, focusing solely on them can often result in a weaker storyline. “Consecration” is a clear example of this trend. The film is visually engaging, making excellent use of haunting locations such as an ancient monastery filled with secrets. Shot on Scotland’s Isle of Skye, the movie captures a convincing atmosphere that feels perfect for a ghostly narrative. Unfortunately, the writing doesn’t live up to the film’s striking imagery.
The plot centers on Grace (Jena Malone), a proficient eye doctor from London, who learns about her brother Michael’s (Steffan Cennydd) supposed suicide. She travels to Mount Saviour Convent in Scotland to uncover what really happened and is met by Father Romero (Danny Huston), who offers to help her. During her search for answers, Grace faces resistance from the convent’s nuns, especially Mother Superior (Janet Suzman), who are determined to keep the details of Michael’s death hidden. The situation grows more complicated when Grace discovers her brother is implicated in an alleged murder-suicide, leading her to experience strange recollections that seem to blur the lines between her past and future.
Mother Superior eventually discloses that Michael, along with Father Carol (Shaun Scott), had been on a Vatican mission to retrieve a long-missing relic that was once kept in the monastery. As Grace’s visions become more intense, she begins to suspect that the relic may not be a physical object but rather a person—someone with the potential for great good or evil.
Despite its lofty goals, “Consecration” is ultimately more interested in its visuals than in building its characters or story. While a strong setting is valuable in horror, a gripping script and believable characters are even more necessary. Here, the cast feels distant, and the film lacks the energy needed to keep viewers invested. Jena Malone, who usually brings intensity to her roles, seems emotionally removed, moving through her scenes without much conviction. By the end, the plot is spelled out in general terms, but her reserved performance makes it hard to connect with her character or buy into her journey.
Director Christopher Smith has expressed a desire to explore the mystical elements of religion, particularly Christianity, with its inherent supernatural overtones. In that sense, he succeeds, framing the story around a protagonist who has abandoned her faith but must reconsider her beliefs amid inexplicable occurrences.
In the end, “Consecration” aims high but only achieves the basics. This isn’t a knock against the cast and crew, but a recognition of the reality that filmmaking often means working within constraints. Sometimes, the final version falls short of the original vision.
Available on Digital Monday, June 16th
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