The nunsploitation genre can be a tricky one to master, provoking divisive reactions because of the treatment of the material in question. Such is the case for Ken Russell’s controversial The Devils and Paul Verhoeven’s latest, Benedetta.
Mickey Reece’s Agnes is a rather baffling watch as it attempts to mesh the aspects of demonic possession with a character drama about religious doubt, which does not work well all the time. Unpredictability is Agnes' greatest strength; its genre-hybridity lends
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