Ryan McNeil
“It’s a bitter taste, and then it’s over”
When one of the main characters in Ti West’s new film THE SACRAMENT utters those words, he’s referring to something truly disturbing. However, that sentence could also apply to the sacrifice one makes when they join up with a group like Eden Parish. There’s the initial discomfort that comes with leaving behind worldly possessions or superficial acquaintances…but it’s all history in short order, and better things await.
What they don’t tell you though, is that bitter taste can come with some serious side effects.
THE SACRAMENT is the story of three journalists at Vice magazine named Jake, Sam, and Patrick. As the film begins, we’re told about a story Patrick recounted of his sister Caroline going off to join some sort of strange, isolated commune headed up by a strange spiritual leader. Fascinated by the story, Jake and Sam have convinced Patrick to bring them along so they can see what’s happening with Caroline, and perhaps turn it into a story for the media outlet.
When they get to the undisclosed commune, they are introduced to people who see the place as a utopia; a complete antithesis to modern living, and a way to get back to basics. However, as the reporters meet the commune’s leader – a man known only as “Father”, they get an uneasy feeling, believing the commune to be more of a cult than a commune. The question then becomes whether they’ll make it back to civilization in one piece and be able to recount the tale.
THE SACRAMENT features an amazing performance by Gene Jones, who most people will remember as the gas station owner Anton Chigurgh threatens in NO COUNTRY FOR OLD MEN. Like every cult leader in fact and fiction, the man can knows how to play to a crowd. He is charismatic, loquacious, quick on his feet, and warm…all of which leads us to trust him that much less. Hearing him refer to his flock as “children” evokes memories of THE NIGHT OF THE HUNTER…and those children didn’t have such a great time if I remember right.
If I have a qualm with THE SACRAMENT, it’s that I feel like I’ve seen this film. Several other movies through the last three or four years have tackled this very subject. Some have told the story better, some have told it far worse. Ti West tells us about the perils of spiritual devotion rather well, but not in any way that feels new. If anything, the fact that the film works with “found footage” feels like a step backwards for West, and a step towards what is trendy in genre filmmaking.
That’s not to say that the film is bad -quite the contrary actually – just that I believe West is capable of more.