Fenn is a mess. Ten years ago, while on the staff of a mainstream newspaper, he had fabricated a bunch of stories, discovered and banned in his now horrible life of having to travel long distances to interview a farmer. delusional who does not recognize that it is a Metallica logo. on the back of his cow. Fenn drinks a lot, has a grizzled cynical charm, and doesn’t seem like a candidate to be impressed by a teenage girl’s bizarre visions of a whispering Virgin Mary, but he swallows it whole. Alice (Cricket Brown), the girl in question, is the niece of the local Catholic priest, Father Hagen (William Sadler). Alice has been deaf since birth, but after her vision she can hear and speak. It’s a miracle. Soon after, the crowds begin to gather around the terrifying tree, coming to be healed by Alice. Alice and Fenn “develop a friendship” (this is one aspect of the film that is not really explored.) The media flock to town, but it is Fenn who gets Alice’s “exclusive” interview. This will be his ticket to Big Time, he can smell it.
Is that so? Perhaps if he unearthed the equivalent of Pentagon documents, or uncovered evidence of war crimes, or maybe he stumbled upon a long-lost safe containing the teenager’s diary of Adolf Hitler, maybe these things could justify re-entering the big leagues. But interviewing a crazy teen who heals people in a Massachusetts field? I kept thinking, “He goes out of town for weeks, settling in a motel, for an online magazine paying only $ 150 per story. Even if the motel is cheap, the trip would cost well. over $ 150. ” The daily allowance for journalists doesn’t really exist like it used to be, not to mention salaries, but still, it’s a bit expensive, especially for a story of cattle mutilation. Granted, “The Unholy” isn’t meant to be a realistic portrayal of today’s concert economy for independent journalists, but the fact that I was distracted by the journalistic portrayal of la-la-land indicates the film’s inability to hold my interest. .
Cinematographer Craig Wrobleski talks about the gloom, with off-center angles, a wintry palette, and a conception of the city as a spooky place, with spooky churches, spooky woods, spooky dilapidated buildings. The atmosphere itself is scary. Jeffrey Dean Morgan is still an interesting actor, and here he fills what is a fairly subscribed role with undertones of disappointment and awareness of his many failures. But even he alone cannot create a friendship with Alice through a conversation about music. This friendship is meant to be a great emotional reward. The gain does not come.