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That’s our cue to meet Angela Holmes (Olivia Taylor Dudley), an attractive, well-adjusted Los Angeles resident who’s just turned 27 when she inexplicably starts to unravel, to the concerned bewilderment of her live-in boyfriend, Pete (John Patrick Amedori), and her gruff, staunchly religious father, Roger (Dougray Scott).
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As we learn from the ominous exorcism montage that opens the picture, high-ranking religious officials have made a habit of investigating this kind of paranormal activity over the past 2,000 years, seeking out cases that could definitively prove the endtimes are upon us.
#The vatican tapes film movie
Although it boasts a suitably raw-and-jangly handheld aesthetic, Neveldine’s movie functions primarily as a straight-ahead thriller with a few faux-verite touches, inserting occasional blips of security-cam footage supposedly procured from the Church’s top-secret video archives (the “Vatican tapes” of the title). Martin) took the form of a found-footage movie, the filmmakers wisely opted to buck that overdone genre trend. While the original 2009 Black List-selected screenplay (written by Christopher Borrelli and Michael C. Silly, screechy and eminently watchable, this thrifty horror exorcise (er, exercise) could yield decent theatrical profit for Pantelion Films, and might turn even more heads in VOD play. And director Mark Neveldine, who is no master of dread but a dab hand at dispensing regular shocks, brings an undeniable lunatic conviction to this cheaply derivative religio-horror freakout, while running up the sort of abnormally high body count you’d expect from a “Die Hard” sequel rather than an occult thriller. It’s no ordinary case of demonic possession that rouses the attention of the Catholic Church in “The Vatican Tapes” - more like the sort of full-on egg-vomiting, eyeball-gouging spiritual meltdown that suggests the Antichrist herself now walks among us.