Prey for the Devil (2022)

Prey for the Devil takes the well-worn exorcism playbook and gives it a jolt of fresh electricity by centering a young nun whose greatest weapon isn’t bravado, but empathy—an uncommon, humanizing angle that makes the dread feel personal instead of procedural. Director Daniel Stamm keeps the vibe tense and shadowy, building a steady drumbeat of ominous atmosphere punctuated by sharp, well-timed jump scares that actually land. Jacqueline Byers anchors the film with a committed, emotionally accessible performance, so even when the movie leans into familiar genre rituals, you’re invested in the person standing in the room with the darkness. If you’re allergic to possession-movie tropes you may find some beats recognizable, but if you want a slick, PG-13 fright ride with a likable protagonist and a few genuinely unnerving sequences, this one delivers.

Prey for the Devil clearly wants to be a slick, modern exorcism thriller with a fresh hook: a nun pushed into a role the Church won’t officially allow, fighting both bureaucracy and evil. The problem is it rarely escapes the genre’s greatest-hits playlist—familiar possession beats, predictable shocks, and writing that hints at deeper themes (faith, trauma, authority) without really paying them off. The pacing can feel like it’s circling the same set pieces until the next jump scare, so if you’re craving genuinely new mythology or slow-burn dread, this may leave you cold. Still, Jacqueline Byers brings earnest intensity, and if you just want a PG-13, high-volume possession movie with relentless “something’s behind you” energy, it’ll do the job.