Review for Stigmata

Whilst I found ‘Stigmata’ a bit predictable (very few supernatural horror clichés remain unturned), it nonetheless boasts a pre-Davinci Code style view of the Vatican as a deeply secretive, politically manipulative organisation not necessarily driven by the world’s best interests. It also boasts a soundtrack partly penned by one Billy Corgan (yes, he of Smashing Pumpkins fame) and it was perhaps this most of all that drew me to the film in the first place.


Having said that, other than these two boasts, it has very little else to suggest that it is anything other than a fairly so-so horror film; not a patch on ‘The Exorcist’ of ‘The Omen’ for example, but not totally dire either.
Released in 1999 and directed by Rupert Wainwright, an English director who went on to direct a so-so remake of the 1980 film, ‘The Fog’, ‘Stigmata’ is a visually stylish film which exudes production value.


Frankie Paige ((Patricia Arquette) is a sassy, free-wheeling girl from Pittsburgh whose Mother, whilst travelling in South America, buys a priest’s worry-beads and sends them to her daughter. Normally that would have been fine, but this priest had been the guardian of a bleeding statue within his church and had recently lost his life under strange circumstances.


Before long, Frankie is afflicted with a hideous stigmata (whilst bathing – how better to show the blood?) and is rushed to hospital with wounds right through her head, hands and feet, which the authorities assume are self-inflicted.


In the meantime, Father Andrew Kiernan (Gabriel Byrne) has returned from a trip to see the statue and report back to his superior at the Vatican (Cardinal Daniel Houseman – Jonathan Pryce) who immediately tries to tale Father Kiernan off the case.


When Kiernan learns of Frankie’s claims, he rushes to see her and uncovers what he believes is an evil spirit possessing her – further evidenced when she starts to speak in a low, male voice (yes- very much like The Exorcist). Despite the Vatican doing all it can to get in their way, he is determined to help her rid herself of the demon and regain some peace. Romance between Priest and subject is also on the agenda.


The cinematography throughout is superb. The scenes with hundreds of candles must have been a nightmare to shoot but look impressive on what is an excellent high-definition transfer.


The film ships with some decent contextual extras including a behind the scenes featurette (Divine Rights, running at almost 30 minutes) offered up in 4:3 and clearly not produced specifically for this release. There is a full audio commentary with director Rupert Wainright, which I wasn’t sufficiently interested in to watch in full but which seemed very informative if you do have the time and the inclination.


It’s also possible to listen to the isolated M & E track which, for Billy Corgan fans is a treat. Then there are the usual deleted scenes (why?) and trailer, an alternative ending and a Natalie Imbruglia video of her track ‘Identify’ which features in the score.



Stigmata is one of those strange films that has a lot of atmosphere, a recycled plot, looks really good from a production standpoint, but leaves you wondering how all these fine actors allowed themselves to be inveigled in such a hot mess. It may work in the festive atmosphere of a Halloween horror film marathon, but as a standalone work, Stigmata is forgettable.


I was mildly surprised that Eureka had released ‘Stigmata’. Whilst they had stopped short of suggesting it was a ‘Master of Cinema’ release, their standards for high quality work is high and this release feels a bit slight for that. Having said that, if you don’t expect anything more than a diverting supernatural horror, with some fine set pieces by Arquette, Byrne and Pryce, then you won’t be too disappointed.