Follows an archaeologist who travels to Ireland to uncover a long-dead tomb. A threat is released, and she will have to fight to keep her teenage daughter from falling under the control of The Morrigan, a vengeful “Pagan War Goddess.”
“The Morrigan” takes its cue from a legendary figure in Irish myth—a multifaceted and imposing goddess at the heart of Celtic lore. Known variously as the “Phantom Queen” or “Great Queen,” the Morrigan is chiefly recognized for her ties to battle, destiny, and rulership. She has the ability to transform, most frequently depicted as a crow or raven, shaping the outcome of conflicts, predicting death, and watching over the land. References to her appear in documents as early as the 8th century, though her story clearly stretches back to much earlier oral traditions. With such a compelling myth as its basis, I was eager to see director Colum Eastwood’s take on bringing this character to film. Sadly, the adaptation falls short. Despite gathering a noteworthy ensemble—Saffron Burrows, Toby Stephens, and James Cosmo among them—Eastwood’s version misses the mark. Although the film boasts all the hallmarks of a successful horror: dramatic settings, moody visuals, and established actors, it ends up feeling like just another retread of familiar territory, lacking originality or polish.
The plot revolves around Dr. Fiona Scott (Saffron Burrows), an archaeologist granted permission by her university to dig at an ancient burial site on a remote island off Ireland’s coast. She brings along her daughter, Lily (Emily Flain), and together they come across a locked sarcophagus containing a preserved body—Fiona suspects it is the Morrigan, a wronged pagan goddess hungry for retribution. When Lily, already battling her own rebellious streak, falls under the goddess’s control, Fiona is forced to find a way to stop the violence and keep the unleashed evil from spreading.
Shot across locations in Northern Ireland—places like Lissan House, Red Hall Estate, and Shane’s Castle—the film makes excellent use of misty landscapes and dimly lit interiors, seemingly perfect for the genre. Despite their naturally haunting appearance, these settings never quite conjure the sense of terror or discomfort that one might expect. Instead of evoking unease, the scenery is so picturesque that it practically invites viewers to visit rather than run away in fear.
While the cast—Burrows, Stephens, and Cosmo—are clearly skilled, their performances lack depth here. The emotions their characters are supposed to convey—terror, rage, sorrow, fear—come off as mechanical and not entirely believable. Emily Flain stands out as Lily, injecting the role with the restlessness and indifference of a real teenager, and offering the film a rare spark of life amid its otherwise somber tone.
Having grown up in Ireland myself, I’ve always known about the Morrigan, but she never struck me as especially terrifying. If Irish legends are to be mined for horror, the Banshee—with her chilling wails and ominous warnings of death—might make for a more genuinely haunting subject. Ultimately, “The Morrigan” is visually impressive, but it is let down by uninspired acting and an overreliance on familiar horror clichés, leaving little lasting impact.
Available on Digital February 3rd
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