Sacred or Sinister? Unveiling a Holy Horror

Read Time:4 Minute, 41 Second

MOVIE REVIEW
Shadow of God
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Genre: Horror
Year Released: 2025
Runtime: 1h 27m
Director(s): Michael Peterson
Writer(s): Tim Cairo
Cast: Mark O'Brien, Shaun Johnston, Jacqueline Byers, Josh Cruddas, Adrian Hough, David Haysom
Where to Watch: Streaming on Shudder on April 11, 2025

RAVING REVIEW: When the horror genre revisits exorcism, it’s usually content to reheat the same ideas. SHADOW OF GOD tries something different—it stirs up its mythology, tinkers with the format, and teases viewers with a premise that suggests exorcism stories still have room to grow. While it doesn’t land every swing, the filmmakers had a big vision, even if the tools to execute it weren’t always within reach.

The story centers around Father Mason Harper, who returns to his hometown after unexplained tragedies befall other exorcists. As he reconnects with his past, he’s drawn into a deeper mystery involving his estranged father. It doesn’t take long before things spiral into a mess of spiritual unrest, cryptic secrets, and a heavy crisis of faith. There’s no shortage of ambition here. The script aims to shake things up by blurring the boundaries of what’s traditionally labeled demonic and divine, asking whether possession can sometimes wear a halo instead of horns.

That core idea—the possibility of a holy possession—is one of the film’s most intriguing concepts. It’s not a theme we see explored often, and it adds a twist that sets SHADOW OF GOD apart from the usual demonic narratives. The film wants to challenge preconceived notions about good versus evil, and that attempt at moral complexity deserves recognition. Unfortunately, the concept doesn’t get the room it needs to breathe. The story glances across those theological ideas rather than pressing into them with real depth. You can feel the potential for something more, but it’s never fully realized.

Mark O’Brien takes on the lead role, carrying much of the film’s emotional weight. He gives Mason Harper enough edge to feel human—haunted, flawed, and compelling. His inner conflict plays out, even when the dialogue around him doesn’t favor him. O’Brien’s presence is steady, and his performance grounds the supernatural chaos in something tangible.

Unfortunately, the supporting characters don't receive nearly as much attention or nuance. Jacqueline Byers plays Tanis, Mason’s ex, and while she tries to deliver a layered performance, the writing simply doesn’t give her the foundation to stand on. Shaun Johnston plays the mysterious father and has a character arc that should carry dramatic power but instead feels half-formed. There’s a difference between mystery and vagueness; the film sometimes confuses the two.

Visually, SHADOW OF GOD is held back by its budget, but the creative team finds ways to work around the limitations. David Baron’s cinematography leans into tight framing, flickering candlelight, and murky interiors to maintain tension. It doesn’t always mask the cheaper production elements—some effects land flat or even unintentionally comedic—but the effort to craft atmosphere is there. You can tell the filmmakers are trying to squeeze as much as possible from their resources.

When it comes to staging the exorcism scenes themselves, the movie deserves some credit for creativity. The rituals deviate from the standard Latin-chant-and-screaming template we’ve seen countless times before. The film feels most alive in these sequences, experimenting with strange visuals, altered states of consciousness, and rituals steeped in a different lore.

The movie struggles most with balancing all its different thoughts. It’s as if juggling a handful of storylines—personal trauma, religious conspiracy, theological what-ifs—and then throwing in a few more without resolving the ones already in play. That narrative sprawl means some character arcs go unfinished, and questions that don’t get answered are raised. You leave feeling like the story had interesting things to say but forgot to say them out loud.

This one feels like a late-night curiosity. It’s the kind of film genre fans might stumble across and be intrigued by, even if they don’t leave entirely satisfied. SHADOW OF GOD dares to ask unique questions, but it doesn’t always know how to answer them.

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[photo courtesy of SHUDDER]

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