Shadow of God is a Canadian horror film directed by Michael Peterson, and the cast includes Mark O'Brien, Shaun Johnston, Jacqueline Byers, Josh Cruddas, Adrian Hough.
Shadow of God attempts to stake its claim in the quite crowded landscape of exorcism films, a genre that, for better or worse, carries with it a set of familiar tropes and expectations, and often tread the line between exploring complex questions of faith and delivering some visceral horror. Unfortunately, this film rarely manages either.
The story revolves around Father Mason Harper, a Vatican exorcist with a distinguished title that, one would hope, comes with a bit of charisma or gravitas. He is summoned back to his small hometown after a series of suspicious deaths among the clergy spark whispers of something supernatural.
This premise could have been perfect ground for some actual tension and existential dread, but nope, what we actually get is a slow-moving procedural drama, where the only horror is the creeping realization that you might be stuck watching a 90 minute sermon without the benefit of coffee or a bathroom break...Well, mostly the only horror.
We get a lot of long stretches here of ponderous dialogue and some heavy symbolism, which seem to be a substitute for actual character development or plot momentum, and the film believes that if it speaks slowly and seriously enough, we, the audience, will feel the weight of its “important” themes.
The reality of it all is less impressive though, as these scenes drag, turning what should be moments of tension or revelation into tedious interludes that will test your patience. The film feels like it’s trying to convey a spiritual experience, but what it really delivers is the cinematic equivalent of being trapped in a never-ending Sunday school class.
The visual effects, which finally emerge during the possession and vision sequences, further betray the film’s ambitions. Rather than enhancing the mood or atmosphere, the CGI looks quite outdated, more reminiscent of mid-90s cable television experiments than a modern horror film.
Instead of awe or terror, the effects will inspire some mild amusement and disbelief. The possession scenes, which could have been the film’s climactic moments, suffer from awkward choreography and clumsy camera work, making the attempts at horror feel staged and unconvincing.
Performance wise, the film is similarly uneven. Mark O’Brien’s Mason is basically a one-note brooder, his character defined mostly by whispered monologues and a perpetually furrowed brow. It’s difficult to invest in a protagonist who seems emotionally constipated throughout the runtime, and Shaun Johnston’s Angus aims for a mix of menace and mysticism, but his performance often reads more like an elderly man confused about why he’s there.
You could argue that Shadow of God is trying to do something ambitious, which I do appreciate, in a genre that often leans heavily on the same ol same ol. But ambition without the execution is no good really, is it?
The film feels weighed down by its own attempts to be “important,” and as a result, it alienates rather than inviting in. It’s a prime example of a film where the intent is so heavy-handed it collapses under its own weight.
In the end, Shadow of God feels less like a horror movie and more like a slow, dragging trip through tired religious clichés, and it never really builds the emotional punch it’s aiming for. If you’re expecting a gripping, thought-provoking exorcism story, this one’s gonna feel pretty dull, and a reminder that not every spiritual journey makes for a great movie.