10 Scary Religious Horror Films You Might Have Overlooked

      Casey Chong presents ten chilling religious horror films you might have overlooked…

      The horror genre features a diverse array of themes that allow filmmakers to delve into specific topics, mixing and matching them as desired. A common theme within this genre is religious horror, which often encompasses elements of faith, guilt, doubt, and trauma, used to create traditional scares, psychological tension, or supernatural elements.

      Iconic religious horror films like Rosemary’s Baby, The Exorcist, The Omen, and The Conjuring have shaped the horror landscape and influenced many others, positively or negatively. Yet, some religious horror films have regrettably faded into obscurity or did not garner enough attention upon their initial release. With this in mind, here are ten lesser-known religious horror films that deserve a spot on your watchlist…

      **God Told Me To (1976)**

      Writer-director Larry Cohen opens with a disturbing scene where a gunman fires from a water tower, randomly killing pedestrians below. What makes this even more unsettling is his strange justification: "God told me to."

      The film begins as a police procedural, centered on Catholic NYPD detective Lt. Peter Nicholas (Tony Lo Bianco) as he probes a series of bizarre murders, each ending with the killers echoing the same haunting claim. Cohen's direction shifts between genres, examining themes from religious fanaticism to alien abduction in a manner that may seem like a chaotic blend, but ultimately elevates God Told Me To beyond standard religious horror clichés.

      **Saint Maud (2019)**

      In her directorial debut, Rose Glass tells the story of a pious woman named Katie (Morfydd Clark), who adopts the name Maud as she starts working as a private nurse for a terminally ill patient, Amanda (Jennifer Ehle), at home. Maud becomes convinced that God has chosen her to save Amanda’s soul, leading her to blur the lines between rationality and blind faith.

      Glass employs a slow-burn approach in Saint Maud, examining the character from Maud’s ambiguous viewpoint, suggesting her intense faith acts as a coping mechanism for her guilt and social isolation. The film's unsettling atmosphere is largely attributed to Clark’s dedicated performance and Glass’s minimalist direction, which emphasizes sound design, static shots, intimate close-ups, and religiously evocative imagery while prioritizing psychological tension over typical jump scares, saving the latter for a climactic finale.

      **The Blackcoat’s Daughter (2015)**

      Despite being a promising yet underappreciated debut, Osgood Perkins displays a strong grasp of horror in this gradual thriller that unfolds over 93 minutes. He skillfully utilizes visual silence and stillness without resorting to standard jump scares, which may alienate some viewers seeking a more traditional religious horror experience.

      Instead, Perkins' atmospheric direction captivates, employing a non-linear narrative that intertwines the stories of Kat (Kiernan Shipka), Rose (Lucy Boynton), and Joan (Emma Roberts). With Kat and Rose left alone at a girls' Catholic boarding school during the winter break, Perkins investigates the existential dread stemming from loneliness and vulnerability. Joan's character is introduced in a way that intentionally subverts expectations as the plot develops.

      **Frailty (2001)**

      Bill Paxton demonstrates his versatility not just as an actor but as a director in his feature debut, Frailty. The narrative unfolds through Fenton Meiks' (Matthew McConaughey) perspective as he confesses to an FBI agent (Powers Boothe) regarding the identity of the “God’s Hand” serial killer. The story oscillates between the present and a flashback that reveals how Fenton and his brother Adam were influenced by their father (also portrayed by Paxton), who believes he was chosen by an angel of God to eradicate demons disguised as humans, based on his visions.

      Paxton masterfully crafts an ambiguous tone that blurs reality and delusion, leaving the audience questioning the truth of his father's claims. The film’s unsettling nature arises from its refusal to provide clear answers, focusing instead on atmospheric dread and the themes of faith versus fanaticism.

      **The Sentinel (1977)**

      Michael Winner, known for directing the first three Death Wish films, also showcased his versatility in different genres, including horror, with The Sentinel. Released during the peak of the religious-horror trend, the film follows a young fashion model named Alison Parker (Cristina Raines) who experiences a series of bizarre events after moving into a brownstone filled with odd neighbors, including the eccentric Charles Chazen (Burgess Meredith).

      Despite some similarities to Rosemary’s Baby, Winner effectively structures the film as a slow-burn horror, blending psychological tension with surreal and shocking moments. The film’s grim conclusion is underscored by disturbing imagery, particularly Winner’s controversial decision to include individuals with real physical deformities to portray demons.

      **The Devil’s Doorway