Prey for the Devil, directed by Daniel Stamm, ventures into the well-trodden territory of exorcism horror. While it offers a few intriguing twists and attempts to explore contemporary themes within the genre, it ultimately struggles to rise above its formulaic roots.

Plot Overview

The film centers on Sister Ann (Jacqueline Byers), a nun with a troubled past who believes she is called to confront the forces of evil through exorcism. Set against the backdrop of a Catholic school training priests for this dangerous rite, Ann becomes the first woman to be permitted to train in this traditionally male-dominated domain.

Her personal stakes are high, as Ann’s own mother struggled with mental illness, which she later came to believe was demonic possession. Ann’s faith and determination are tested when she forms a bond with Natalie (Posy Taylor), a young girl tormented by a powerful demon. As Ann delves deeper into the battle against evil, she uncovers shocking truths about her own past and her connection to the demonic forces she seeks to defeat.

Themes and Analysis

The film attempts to blend traditional exorcism horror with a modern feminist lens by positioning Sister Ann as a trailblazer in a male-dominated field. This setup provides an opportunity to explore gender dynamics within the Catholic Church and the broader societal constraints placed on women in positions of spiritual authority. However, the execution feels underdeveloped, with these themes taking a backseat to predictable horror beats.

The story also grapples with the intersection of faith, trauma, and mental health. Ann’s journey is as much about confronting her personal demons as it is about battling literal ones, creating an emotional core that occasionally elevates the narrative. However, the film’s reliance on genre clichés undermines its more thoughtful moments.

Performances

Jacqueline Byers delivers a strong performance as Sister Ann, bringing a mix of vulnerability and resolve to her character. Her portrayal anchors the film, providing a relatable and compelling entry point into the story.

Posy Taylor as Natalie is suitably eerie, capturing the fear and anguish of a child under supernatural siege. Supporting performances from Virginia Madsen as Dr. Peters and Christian Navarro as Father Dante add some gravitas, though their characters are not given enough depth to leave a lasting impression.

Direction and Cinematography

Daniel Stamm, known for his work on The Last Exorcism (2010), approaches the material with competence but fails to innovate within the genre. The exorcism scenes are suitably tense, with effective use of practical effects and sound design to heighten the atmosphere. However, the scares often feel derivative, relying on familiar tropes such as contorted bodies, shadowy figures, and jump scares.

Cinematographer Denis Crossan captures the cold, oppressive atmosphere of the film’s settings, from the sterile halls of the Catholic school to the dimly lit rooms where the exorcisms take place. The visual style is effective but unremarkable, lacking the distinctiveness needed to set the film apart.

Weaknesses

One of the film’s primary weaknesses is its adherence to genre conventions. While it flirts with deeper themes and character-driven storytelling, it ultimately reverts to a predictable narrative structure, with a climax that feels rushed and overly reliant on CGI. The script struggles to balance its ambition with its commitment to delivering a crowd-pleasing horror experience, resulting in a film that feels uneven.

Moreover, the film’s exploration of Ann’s personal connection to the demonic forces lacks the emotional payoff needed to resonate fully. The revelations about her past, while shocking, are not sufficiently integrated into the story’s thematic framework, leaving them feeling more like plot devices than organic developments.