| Reviews & Columns |
|
Reviews DVD TV on DVD Blu-ray 4K UHD International DVDs In Theaters Reviews by Studio Video Games Features Collector Series DVDs Easter Egg Database Interviews DVD Talk Radio Feature Articles Columns Anime Talk DVD Savant Horror DVDs The M.O.D. Squad Art House HD Talk Silent DVD
|
 DVD Talk Forum |
|
|
| Resources |
|
DVD Price Search Customer Service #'s RCE Info Links |
|
Columns
  
 
|
|
|
Stigmata
Shout Factory // R // May 19, 2015
List Price: $24.97 [Buy now and save at Amazon]
The Film:
The religious supernatural suspense subgenre saw a surge in popularity near the turn of the century, perhaps not unexpectedly given the rapid approach of the year 2000 AD and the resulting doomsday predictions, creating a climate ripe for that kind of thematic material. Following the popularity of The Devil's Advocate, a number of other occult/theological thrillers cropped up in 1999 almost as a response, including the outlandish, action-oriented flick End of Days and the quieter, more sinister mystery of Roman Polanski's Ninth Gate. Somewhere in between those two, both in quality and the extent of their theological mysticism, you'll find Rupert Wainwright's Stigmata, which exploits the Catholic superstition involving the wounds incurred by Jesus Christ forming on the bodies of hardcore believers. The film's metaphysical thrills are functional at best and either banal or ludicrous at worst, but a dedicated performance from Patricia Arquette and distinctive music from Billy Corgan give it a worthwhile, albeit dated, edge.
Stigmata begins by giving a backstory to a set of rosary beads: the possession of a recently-deceased clergyman in Brazil, whose church has been "blessed" with their statue of the Virgin of Guadalupe crying tears of blood. An ordained religious scientist and investigator sent to the church, Andrew Kiernan (Gabriel Byrne), has had his request denied to do more in-depth research into the area; the passed clergyman's beads, however, have been stolen, sold, and shipped to the United States. The rosary lands in the possession of Frankie Paige (Arquette), a hard-partying hairdresser and self-proclaimed atheist living in Pittsburg, with no knowledge of its previous ownership. Soon after receiving the beads, Frankie begins to suffer the symptoms of stigmata, the stab wounds and skin tears incurred by Jesus Christ shortly before his crucifixion. Recorded footage of Frankie's condition reaches the Vatican -- with seemingly little concern from anyone else -- prompting them to send Kiernan to investigate the veracity of her state.
Stigmata typically appears in devout individuals (Catholics) as a somber reward for someone's deeper connection with their faith, but Wainwright's film instead turns the phenomenon into a sort of supernatural parasite that can impose itself upon anyone -- even atheists -- in range of its influence. That's a bizarre twist on an already bizarre religious element that, frankly, doesn't seem too interested in appealing to those invested in what the markings involve, leaving the film's premise in a strange limbo between believers and agnostics. Stigmata conveniently ups the tension of its miraculous and morbid occurrence by forcing Frankie into either public places or private situations every time she's dealt a new wound, taking a stab at creating enough raw supernatural horror to excuse its dodging of religious concepts. Heavy '90s-styled flashes of bloody imagery create disruptions, driven by a score from Billy Corgan that grunges up the atmosphere, but the peculiar combo of theistic devotion and an almost curse-like manifestation never finds a strong pulse of dread through its unsubtle technique.
Instead, the elements that actually do work in Stigmata's favor are those built around the eerie character drama of how Frankie copes with the markings, both physically and philosophically. She's given some heft by the victimized yet durable attitude generated by Patricia Arquette, who capably embodies the demeanor of a '90s alt-scene skeptic rocked by something so distinctively religious that she's forced to wrap her head around her beliefs. Existential
meditation isn't the objective in this Catholic horror session, but she's believable as someone who simply wants to go about her happy-go-lucky life without the Almighty dictating her actions, coming further into play once her body's overtaken by forces beyond her control. Despite receiving a Razzie nomination for his role (which probably had more to do with his wonky performance in End of Days than this one), Gabriel Byrne delivers his concentrated, stony demeanor as his own kind of realist in Catholic robes, culminating in an uninteresting but handsome spiritual detective with whom Frankie develops some convincing chemistry.
Once Stigmata abandons the mystery and starts answering questions about the origin of Frankie's affliction, however, it fully morphs into a slapdash mess of pseudo-mysticism and holy conspiracy, underscored by some nasty remarks on organized religion, especially Catholicism and mustache-twirling cardinals like Jonathan Pryce's Houseman, and the prices paid to safeguard their relevancy. While descending into a twisted rendition of The Exorcist and The Omen as Frankie succumbs to being a medium -- scrawling text on her walls, an ominous change in her voice, levitating in a predictable pose -- little of the rationale behind what's happening really makes a whole lot of sense, especially why she's a feasible vessel for the spiritual presence in the first place. Director Wainwright attempts to make any stumbles in coherence irrelevant by dialing up the spectacle with insanity and brimstone; alas, his stylistic embellishments end up overcompensating for the gibberish, revealing that this equally outlandish and dull mystery is far less concerned with why Frankie's been chosen than it should've been.
The Blu-ray:
Video and Audio:
The visual style in Stigmata can be difficult to critique in high-definition: director Wainwright and his cinematographer, Jeffrey L. Kimball, intentionally doctored the look of the film with bleach bypassing and color desaturation, subtracting red tones from the image while elevating contrast levels. Blown out whites and imposing black levels are, therefore, inherent and intended through Shout Factory's accurately-framed 2:35.1, 1080p AVC treatment. While print imperfections are to be expected from the label, evidenced throughout in black speckles, the age of the master also reveals an assertive, unruly amount of film/compression grain and an almost universal flatness of depth. There isn't a lot of impressive HD clarity to remark on, with elements like Frankie's scars getting squashed under the grain, but there are a few elements -- creases in clothing patterns, the lines on a cigarette, cascading rain on a window and the calligraphy on the wall -- that sport reputable, natural details from underneath the bulky transfer. A few colors also jump out, such as lime-green bottles and the large acid-yellow ring on Frankie's finger, while flesh tones scramble to keep up with the color tone in each scene. It's a step above something like Shout's transfer for Ravenous, instead letting this film's imperfections and age speak for themselves.
In general, Shout Factory's 5.1 DTS-HD Master Audio sits on about the same level of quality as the visual transfer: tolerable for its vintage, but fairly unsatisfying in intelligibility and depth. Conversation sequences range from commanding and responsive to the front channels, covering most of the hair salon scenes, to thin and distanced like the scene after Frankie and Andrew shop for flowers. None of the dialogue gets held back to a degree where it's inaudible, though. A few minor satisfying details emerge from the track, such as the clanking of shot glasses and the tapping of feet in a church, but it takes some concentration to focus on any surround elements coming in from the rear; water dripping in Frankie's apartment turns out to be the only real standout surround element. Music dominates the track, and is responsible for the majority of channel separation at both the front and the back. It's worth noting, unfortunately, that there seems to be an audio issue in the first minute of the film, though, where several feedback/distortion blips disrupt the track during the title cards and leading up to the first image of the rosary beads. Smooth sailing after that, but it's a frustration at first. A 2.0 Master Audio track is also available, as well as optional English subs.
Special Features:
As per their ongoing reputation, Shout Factory have done Stigmata right by including a comprehensive collection of special features from previous editions of the film, starting off with the Audio Commentary with Director Rupert Wainwright. It's a sharp, consistent discussion that reveals Wainwright's willingness to discuss the details that were fudged for cinematic effect, from types of writing languages used to "voodoo" references and the camera setup used to capture the striking bathtub sequence; he even points of less-convincing elements, such as tubes used for spraying blood and reused locations shots. Wainwright also discusses the palette for the film quite a bit, adding a nice layer of insight to the track. Few secrets about the film's making are left, but it's a good chat. We've also got a series of Deleted Scenes (12:54, 4x3 Letterbox), including an alternate ending (which cannot be played with the film), as well as the Natalie Imbruglia "Identify" Music Video (4:16, 4x3) and a Theatrical Trailer (2:26, 16x9 HD).
In terms of something new for the North American crowd, or for those who haven't imported previous editions of the film, Shout Factory have also made the Divine Rights: The Making of Stigmata (25:36, 4x3 SD) legacy featurette available. The piece is set up similarly to others I've seen in the past based on real-life elements brought to the big screen, covering the non-fictional elements of the subject in the first half and then moving to discussion about Stigmata itself in the second half. Vintage interviews with Rubert Wainwright, Gabriel Byrne, Patricia Arquette, and the rest of the cast delve into press-kit caliber chats about the process and their characters; however, the discussion moves towards more intriguing filmmaking content later on, revealing more about the production design, the tweaked cinematography, and the collaboration with Smashing Pumpkins' Billy Corgan. We've also got a History Channel "Incredible But True" special on the phenomenon itself, entitled Stigmata: Marked for Life (44:05, 4x3 SD), which goes in-depth into the history of the topic itelf.
Final Thoughts:
Stigmata ends up being a passable religious horror/thriller, at best, where the strengths of its mystical enigmas and lead actress Patricia Arquette have their wings clipped by an inconsistent script and shrug-worthy thrills. It builds sympathy for Frankie and how her atheistic self must endure the Catholic phenomenon -- especially since it keeps kicking into gear while she's in public places -- but it also leaves one scratching their head over the nature of the curse-like burden and the ham-fisted (albeit relevant) commentary doled out about organized religion. There's a slight eeriness in watching her markings play out to the end, yet there's never much of a sense of dread behind it, and the answers at the end result in a dubious rat's nest. Shout Factory's Blu-ray looks and sounds relatively decent, barring a few concerns, and contains a fine number of extras to satisfy fans of the film. A Rental will suffice for most, but fans of the film will find a suitable upgrade here.
Thomas Spurlin, Staff Reviewer -- DVDTalk Reviews | Personal Blog/Site
The religious supernatural suspense subgenre saw a surge in popularity near the turn of the century, perhaps not unexpectedly given the rapid approach of the year 2000 AD and the resulting doomsday predictions, creating a climate ripe for that kind of thematic material. Following the popularity of The Devil's Advocate, a number of other occult/theological thrillers cropped up in 1999 almost as a response, including the outlandish, action-oriented flick End of Days and the quieter, more sinister mystery of Roman Polanski's Ninth Gate. Somewhere in between those two, both in quality and the extent of their theological mysticism, you'll find Rupert Wainwright's Stigmata, which exploits the Catholic superstition involving the wounds incurred by Jesus Christ forming on the bodies of hardcore believers. The film's metaphysical thrills are functional at best and either banal or ludicrous at worst, but a dedicated performance from Patricia Arquette and distinctive music from Billy Corgan give it a worthwhile, albeit dated, edge. Stigmata begins by giving a backstory to a set of rosary beads: the possession of a recently-deceased clergyman in Brazil, whose church has been "blessed" with their statue of the Virgin of Guadalupe crying tears of blood. An ordained religious scientist and investigator sent to the church, Andrew Kiernan (Gabriel Byrne), has had his request denied to do more in-depth research into the area; the passed clergyman's beads, however, have been stolen, sold, and shipped to the United States. The rosary lands in the possession of Frankie Paige (Arquette), a hard-partying hairdresser and self-proclaimed atheist living in Pittsburg, with no knowledge of its previous ownership. Soon after receiving the beads, Frankie begins to suffer the symptoms of stigmata, the stab wounds and skin tears incurred by Jesus Christ shortly before his crucifixion. Recorded footage of Frankie's condition reaches the Vatican -- with seemingly little concern from anyone else -- prompting them to send Kiernan to investigate the veracity of her state.
Stigmata typically appears in devout individuals (Catholics) as a somber reward for someone's deeper connection with their faith, but Wainwright's film instead turns the phenomenon into a sort of supernatural parasite that can impose itself upon anyone -- even atheists -- in range of its influence. That's a bizarre twist on an already bizarre religious element that, frankly, doesn't seem too interested in appealing to those invested in what the markings involve, leaving the film's premise in a strange limbo between believers and agnostics. Stigmata conveniently ups the tension of its miraculous and morbid occurrence by forcing Frankie into either public places or private situations every time she's dealt a new wound, taking a stab at creating enough raw supernatural horror to excuse its dodging of religious concepts. Heavy '90s-styled flashes of bloody imagery create disruptions, driven by a score from Billy Corgan that grunges up the atmosphere, but the peculiar combo of theistic devotion and an almost curse-like manifestation never finds a strong pulse of dread through its unsubtle technique.
Instead, the elements that actually do work in Stigmata's favor are those built around the eerie character drama of how Frankie copes with the markings, both physically and philosophically. She's given some heft by the victimized yet durable attitude generated by Patricia Arquette, who capably embodies the demeanor of a '90s alt-scene skeptic rocked by something so distinctively religious that she's forced to wrap her head around her beliefs. Existential
meditation isn't the objective in this Catholic horror session, but she's believable as someone who simply wants to go about her happy-go-lucky life without the Almighty dictating her actions, coming further into play once her body's overtaken by forces beyond her control. Despite receiving a Razzie nomination for his role (which probably had more to do with his wonky performance in End of Days than this one), Gabriel Byrne delivers his concentrated, stony demeanor as his own kind of realist in Catholic robes, culminating in an uninteresting but handsome spiritual detective with whom Frankie develops some convincing chemistry. Once Stigmata abandons the mystery and starts answering questions about the origin of Frankie's affliction, however, it fully morphs into a slapdash mess of pseudo-mysticism and holy conspiracy, underscored by some nasty remarks on organized religion, especially Catholicism and mustache-twirling cardinals like Jonathan Pryce's Houseman, and the prices paid to safeguard their relevancy. While descending into a twisted rendition of The Exorcist and The Omen as Frankie succumbs to being a medium -- scrawling text on her walls, an ominous change in her voice, levitating in a predictable pose -- little of the rationale behind what's happening really makes a whole lot of sense, especially why she's a feasible vessel for the spiritual presence in the first place. Director Wainwright attempts to make any stumbles in coherence irrelevant by dialing up the spectacle with insanity and brimstone; alas, his stylistic embellishments end up overcompensating for the gibberish, revealing that this equally outlandish and dull mystery is far less concerned with why Frankie's been chosen than it should've been.
The Blu-ray:
 |  |
Video and Audio:
The visual style in Stigmata can be difficult to critique in high-definition: director Wainwright and his cinematographer, Jeffrey L. Kimball, intentionally doctored the look of the film with bleach bypassing and color desaturation, subtracting red tones from the image while elevating contrast levels. Blown out whites and imposing black levels are, therefore, inherent and intended through Shout Factory's accurately-framed 2:35.1, 1080p AVC treatment. While print imperfections are to be expected from the label, evidenced throughout in black speckles, the age of the master also reveals an assertive, unruly amount of film/compression grain and an almost universal flatness of depth. There isn't a lot of impressive HD clarity to remark on, with elements like Frankie's scars getting squashed under the grain, but there are a few elements -- creases in clothing patterns, the lines on a cigarette, cascading rain on a window and the calligraphy on the wall -- that sport reputable, natural details from underneath the bulky transfer. A few colors also jump out, such as lime-green bottles and the large acid-yellow ring on Frankie's finger, while flesh tones scramble to keep up with the color tone in each scene. It's a step above something like Shout's transfer for Ravenous, instead letting this film's imperfections and age speak for themselves.
In general, Shout Factory's 5.1 DTS-HD Master Audio sits on about the same level of quality as the visual transfer: tolerable for its vintage, but fairly unsatisfying in intelligibility and depth. Conversation sequences range from commanding and responsive to the front channels, covering most of the hair salon scenes, to thin and distanced like the scene after Frankie and Andrew shop for flowers. None of the dialogue gets held back to a degree where it's inaudible, though. A few minor satisfying details emerge from the track, such as the clanking of shot glasses and the tapping of feet in a church, but it takes some concentration to focus on any surround elements coming in from the rear; water dripping in Frankie's apartment turns out to be the only real standout surround element. Music dominates the track, and is responsible for the majority of channel separation at both the front and the back. It's worth noting, unfortunately, that there seems to be an audio issue in the first minute of the film, though, where several feedback/distortion blips disrupt the track during the title cards and leading up to the first image of the rosary beads. Smooth sailing after that, but it's a frustration at first. A 2.0 Master Audio track is also available, as well as optional English subs.
Special Features:
As per their ongoing reputation, Shout Factory have done Stigmata right by including a comprehensive collection of special features from previous editions of the film, starting off with the Audio Commentary with Director Rupert Wainwright. It's a sharp, consistent discussion that reveals Wainwright's willingness to discuss the details that were fudged for cinematic effect, from types of writing languages used to "voodoo" references and the camera setup used to capture the striking bathtub sequence; he even points of less-convincing elements, such as tubes used for spraying blood and reused locations shots. Wainwright also discusses the palette for the film quite a bit, adding a nice layer of insight to the track. Few secrets about the film's making are left, but it's a good chat. We've also got a series of Deleted Scenes (12:54, 4x3 Letterbox), including an alternate ending (which cannot be played with the film), as well as the Natalie Imbruglia "Identify" Music Video (4:16, 4x3) and a Theatrical Trailer (2:26, 16x9 HD).
In terms of something new for the North American crowd, or for those who haven't imported previous editions of the film, Shout Factory have also made the Divine Rights: The Making of Stigmata (25:36, 4x3 SD) legacy featurette available. The piece is set up similarly to others I've seen in the past based on real-life elements brought to the big screen, covering the non-fictional elements of the subject in the first half and then moving to discussion about Stigmata itself in the second half. Vintage interviews with Rubert Wainwright, Gabriel Byrne, Patricia Arquette, and the rest of the cast delve into press-kit caliber chats about the process and their characters; however, the discussion moves towards more intriguing filmmaking content later on, revealing more about the production design, the tweaked cinematography, and the collaboration with Smashing Pumpkins' Billy Corgan. We've also got a History Channel "Incredible But True" special on the phenomenon itself, entitled Stigmata: Marked for Life (44:05, 4x3 SD), which goes in-depth into the history of the topic itelf.
Final Thoughts:
Stigmata ends up being a passable religious horror/thriller, at best, where the strengths of its mystical enigmas and lead actress Patricia Arquette have their wings clipped by an inconsistent script and shrug-worthy thrills. It builds sympathy for Frankie and how her atheistic self must endure the Catholic phenomenon -- especially since it keeps kicking into gear while she's in public places -- but it also leaves one scratching their head over the nature of the curse-like burden and the ham-fisted (albeit relevant) commentary doled out about organized religion. There's a slight eeriness in watching her markings play out to the end, yet there's never much of a sense of dread behind it, and the answers at the end result in a dubious rat's nest. Shout Factory's Blu-ray looks and sounds relatively decent, barring a few concerns, and contains a fine number of extras to satisfy fans of the film. A Rental will suffice for most, but fans of the film will find a suitable upgrade here.
|
| Popular Reviews |
| Sponsored Links |
|
|
| Sponsored Links |
|
|
| Release List | Reviews | Shop | Newsletter | Forum | DVD Giveaways | Blu-Ray | Advertise |
|
Copyright 2024 DVDTalk.com All Rights Reserved. Legal Info, Privacy Policy, Terms of Use,
Manage Preferences,
Your Privacy Choices 
| |||||||