THE DEVIL’S DOORWAY (2018)
Found footage flick takes place in 1960 and is supposed to be film footage shot by two priests, Father Thomas (Lalor Roddy) and Father John (Ciaran Flynn) as they investigate the reported bleeding eyes of a Virgin Mary statue. The statue stands in an Irish Magdalene laundry which were basically homes for wayward women cast out by society. Once the priests start to investigate, they find the statue is the least of their problems as there is true evil in this place both human and supernatural in origin.
Aside from it’s intriguing setting, there is nothing all that original in this flick, as either a found footage film or a demonic thriller. Director Aislinn Clarke makes atmospheric use of her locations, including some creepy rooms and catacombs beneath the building, but fails to set anything all that involving within them. Her script, that she wrote along with Martin Brennan and Micheal B. Jackson, drags out every cliché imaginable in the found footage and demonic possession genres from the shaky cams and conveniently failing lights to the laughter of spectral children and levitating young women in nightgowns. The last act down in the subterranean catacombs beneath the building were right out of As Above, So Below and the sticks used for demonic symbols, right out of Blair Witch. Roddy’s Father Thomas was an interesting character and there was a creepy twist involving his past and Helena Bereen‘s Mother Superior was spooky without the last act reveals. It’s just the film seems to be simply a mash-up of elements and scenes from other movies and not done interesting enough to freshen them up or give the filmmakers a break. There is some feminist commentary mixed in, but it doesn’t make up for all the under-cooked horror elements that we’ve seen so many times before. There is some spooky and disturbing stuff in the last act, but it’s too little, too late and too familiar to elevate the film, even with a brief 76 minutes run-time.