I’ve made some movies.

From every graphically balanced shot, fully immersive set decoration, cleverly concealing or revealing costume, and Sydney Sweeney’s dawning realization she needs to get the fuck out of there, Michael Mohan’s IMMACULATE knows exactly what it’s doing from frame one.
A feast for fans of the films it draws from, a gateway drug for those new to horror, and a big surprise for the jaded who think they know what the movie is before it begins.