Prey for the Devil (2022)

Prey for the Devil (2022): A Familiar Take on Exorcism Films

In response to a global surge in demonic possessions, the Catholic Church takes unprecedented action by reopening exorcism schools to train priests in the ancient Rite of Exorcism. At the heart of this spiritual battlefield emerges an unlikely hero: Sister Ann, a young, determined nun with a troubled past. Together with fellow student Father Dante, she embarks on a perilous journey to save the soul of a young girl named Natalie. But as the battle intensifies, Sister Ann realizes the Devil’s plans are far more personal—and sinister—than she ever imagined.

A Long-Awaited Release or a Delayed Misstep?

Initially titled The Devil’s Light, Prey for the Devil was filmed during the summer of 2020 and sat in post-production limbo for over two years before Lionsgate released it on October 28, 2022—just in time for Halloween. The film was originally scheduled for January 2021 and later February 2022, but its final release during the Halloween season seemed like a strategic move to capitalize on horror fans’ appetite for scares. Unfortunately, what Prey for the Devil delivers feels less like a frightful treat and more like a stale serving of recycled exorcism tropes.

The Plot: A Familiar Formula

Directed by Daniel Stamm, best known for The Last Exorcism (2010), the film aims to expand the lore of exorcism but falters with a predictable narrative. The story follows Sister Ann (Jacqueline Byers), a deeply faithful nun haunted by the memory of her abusive mother, who she later suspects was possessed by a demon. Sister Ann’s personal experiences drive her passion for combating demonic possession, leading her to join an exorcism school run by Father Quinn (Colin Salmon) and psychologist Dr. Peters (Virginia Madsen). However, the Church’s rigid rules—particularly its exclusion of women from performing exorcisms—force Ann to fight for her place in a male-dominated tradition.

When Ann encounters Natalie (Posy Taylor), a ten-year-old girl suffering from what she believes is true possession, she becomes convinced the demon inhabiting Natalie is the same entity that tormented her mother. What follows is a chaotic series of exorcisms, jump scares, and supernatural confrontations, culminating in a climax that feels more like the setup for a sequel than a satisfying resolution.

Rehashed Tropes and Missed Opportunities

At its core, Prey for the Devil borrows heavily from The Exorcist (1973)—a benchmark for possession films. Natalie mirrors Regan MacNeil, while Sister Ann takes on the combined roles of Father Karras and Merrin. However, the film struggles to carve its own identity, often relying on stale clichés such as ominous Latin chanting, contorted bodies, and flickering lights. While these elements are staples of the genre, Prey for the Devil fails to elevate them with originality or depth.

One of the film’s more intriguing concepts is the idea of exorcism schools, where modern technology meets ancient rituals. However, this premise is underdeveloped, leaving viewers with questions about the Church’s internal procedures and the film’s historical inconsistencies. For instance, while the school is supposedly founded in 2018, its ancient archives and architecture suggest a centuries-old establishment—a detail that feels more like an oversight than intentional world-building.

Performance and Direction

Jacqueline Byers delivers a competent performance as Sister Ann, capturing the character’s vulnerability and determination. However, the screenplay, penned by Robert Zappia, offers little for her to work with, often reducing Ann’s arc to a series of predictable conflicts and revelations. Colin Salmon and Virginia Madsen bring gravitas to their roles, but their characters are largely sidelined, serving more as plot devices than fully realized individuals.

Director Daniel Stamm, who showed promise with The Last Exorcism, fails to replicate the tension and atmosphere that made his earlier work stand out. The jump scares are formulaic, and the film lacks the eerie, oppressive mood that defines the best possession stories.

A Missed Opportunity for Horror Fans

While Prey for the Devil boasts semi-decent PG-13 body horror and an intriguing premise, it ultimately falls flat due to its lack of originality and narrative focus. For fans of exorcism films, the movie offers little beyond a retread of familiar ideas. Compared to modern classics like James Wan’s The Conjuring series, Prey for the Devil feels like a missed opportunity to breathe new life into the genre.

Final Verdict

With its predictable plot, underdeveloped themes, and over-reliance on clichés, Prey for the Devil is a disappointing addition to the exorcism subgenre. While it might satisfy those looking for a quick Halloween scare, it’s unlikely to leave a lasting impression on seasoned horror fans.