The first thing I noticed about prophecy five is that the runtime is only about 75 minutes – and they waste the first three of those with flashbacks from the previous film. Still, I noticed that Tony Todd will be in this one, so I’m hoping it’ll be cool.
It looks like he’s an Angel this time, hiring a hitman to go after Kari Whurer, the current guardian of the prophet’s lexicon. The long black angel cloak gives him a very candyman vibe – which I have no doubt is intentional. Because he’s an angel, Todd, can’t get his hands dirty, but his assassin, Dylan, for him, the dirtier, the better. Angel John is back at the beginning here as well, delivering Wuhrer a message through a dead girl.
Our hitman Dylan is quite intense, loading his guns and prepping his gear, he obviously doesn’t want to work for Todd, even committing suicide to try and escape. But the angel bring some back, and now, with a vision of hell in his mind, the hitman is more bound to the angel than ever. We cut to Kari’s apartment, where Dylan has very suddenly arrived, threatening her as he searches for the Prophet’s Lexicon. Wuhrer assures him that he won’t find it if she’s dead.
His hitman turns on him, and he whisks Kari away. it’s an attack of conscience that transformed him into her protector. In the meantime, Todd’s Angel finds her apartment and searches for the book – he finds the hiding place almost immediately, hidden behind a layer of drywall, but the book stash there is merely a dummy copy, and the chase is onin the warm orange tones of Bucharest.
Everyone drives such small cars!
Dylan makes a quick stop to find iron pills that will alter the smell of Kari’s blood (making it harder for the Angels to hunt her), and a new dress, complete with a wig to throw everyone else off. (better to look like a cheap hooker I guess then be angel fodder). He explains that there’s a chance he can still denfend her and hurt the angels stalking them if he can squeeze off a good kill shot… Right through the third eye.
“The one you use to see God.”
It’s interesting to turn this into something more like a road film, along with a dash of paranoia – we are constantly looking around to try and figure out if the people on the street are angels or not. We get a cameo appearance from the angel from the previous installment, as Kari goes to investigate what the Prophet’s Lexicon actually is. Even disguised, The other angels are onto her, Curiously enough, they don’t seem to have the supernatural speed that I’m used to seeing from the first three installments- More evidence to me that this is a completely separate tangent.
It doesn’t stop them from being creepy and intimidating. Tony Todd in particular is perfect for this sort of role, and every time he’s on screen he elevates the film with that deep, true voice of his. He truly exudes the sense of superiority that has always been insinuated with these creatures.
Wuhrer heads back to the mansion from the previous film, looking for more information. There she finds Angel John lurking in the darkness. He explains some of the theory (such as Angels being bound by rules) as well as some of the plot in case you may have missed the previous film… all while devouring a Twinkie.
“I have a weakness for these.”
“Maybe it’s the angel food cake?”
Well Kari hides in a funeral procession, Todd tortures Dylan, attempting to drive him back to his cause. He’s valuable because Wuhrer trusts him now and he can get close to her. A storm rages outside the small church Wuhrer has taken shelter in. Lightning flashes, thunder rumbles, wind blows out the candles and then… there’s the dead girl. Standing before her. She tells Wuhrer that she died for her, so that she could use her funeral to escape the angels but now she has to wait in the cold ground, because the bad angels won’t let her into heaven. She implores Wuhrer not to give them the book… even if they tear her apart. Once again, I feel more Hellraiser vibes off of this than I do The Prophecy, not that I’m complaining. As soon as the ghost vanishes, Assassin Dylan arrives. Outside, the angel start to gather, and Dylan betrays her, leading her out and into their clutches. Wuhrer is now face-to-face with angel Todd, while Dylan goes off to try and drink his guilt away.
The problem is, the rules come in to play. Todd can’t kill Kari, and he can’t drive the information out of her, so he lets her go…
Wuhrer just sort of wanders into the next scene, it’s a clunky transition to a park where she spends some time talking to Angel John. Kari is conflicted – because Todd’s Angel wants to prevent Armageddon, where as Angel John wants to start it. It’s hard for her to pick a side and that internal conflict takes center stage in this installment. She makes a decision to head off and retrieve the profits lexicon from its hiding place, but Angel Todd and assassin Dylan are right on her heels.
I’ve got to admit, the film has an ending that I did not see coming – and yet it’s completely satisfying. Four and five together make a really fun narrative and create their own little series within a series – it’s very strange, but I dig it. Again I feel the need to mention this doesn’t feel like the first Prophecy, it doesn’t feel like that first trilogy – it shares some of the same DNA but it’s definitely it’s own thing… and that thing isn’t bad. I’m probably more likely to watch four and five again then I am to ever crack out one through three.
After checking out two and three for other reasons, I was pretty much done with the Prophecy series. The reason I’m back, it’s because of an interesting looking cast that includes Kari Wuhrer , Doug Bradley and Sean Pertwee. We are back in Romania, and missing Christopher Walken. I knew that coming in as well, but it’s okay – by the time we hit Movie number three, he was superfluous and really just being shoehorned in there for name value.
This time around we open up with some footage designed to look old, a dictator watching the parade, and the angel in the background – it’s affected the dimension logo itself which immediately got my attention. When we fast forward to present day, we see a petty thief as he races through the town occasionally getting glimpses angelic statues at the top of the buildings. He slams into Sean Pertwee, a cop of questionable morals – considering he roughs the punk up and shakes him down for his cash. The film quickly backpedals though and tries to prove to us he is not such a bad guy since he gives it to the offering box at church. On the side, Kari Wuhrer keeps watch, handing out votives and watching the parishioners. For his part, Pertwee is being watched by an angel named John who then attempts to recruit him. Meanwhile in the basement of the church, a priest watches as scripture writes itself – burning into the pages of an old manuscript. It’s enough to give him a heart attack. The book it self is the prophets lexicon, our macguffin for this film.
In his adorable tiny little car, Pertwee and his angel sidekick are called to the scene of a murder. What he finds is the small time crook he had been shaking down earlier. He’s been thrown from a roof with his heart ripped straight out of his chest. It’s some pleasant gore for a series that’s usually mostly bloodless. Inside the church towers, he encounters two other cops, including Doug Bradley, and an ominous greeting scrolled on the wall in a suspiciously red color.
Across town, a woman in a waitresses uniform is someone being mauled by a dog in the park. She runs over to help, but the victim looks up evily. It’s just a guise, and behind it, the spirit of Belial , she possesses the woman. In the distance, the barking at the dog stops. Reliable sets off, beginning for mission to find the profits lexicon. She invites the church to find it, but it’s too late… Kari is already stashed away back at her dreary little apartment.
Back in the car, Sean Pertwee explains the finer points of police work to the engine. How to beat Suspect property. This is before Sean for it we got respectable on shows like Gotham, so he’s dropping a lot of F bombs and really relishing it. He drops Angel John off, and calls in a favor from the station for the facial recognition and background on this guy. Something about him doesn’t set right.
At the next crime scene, still being presided over by Doug Bradley we have another victim with no heart… This one had voices in her head driving her to file her teeth down. Angel John seems to know a little bit too much about what’s going on here. For we continues to research the case, looking for other incidents were removed. We got a nice touch here where he does some instant messaging with an unseen competent, one who goes by the name of Joseph 1995. It’s absolutely a reference to Steve Hytner (better know from his Kenny Banya role n Sienfeld) from the previous prophecy films, layering in just enough continuity to be endearing. Joseph 1995 mentions that these entities, these angels always take the heart, because it renders the body uninhabitable.
Next stop is a creepy old abandoned mansion. Pertwee is confused and annoyed.
“There will be.”Suddenly, the basement is filled with visions of the past, the medical atrocities that occurred in this mansion, and it’s all tied to Pertwee’s past, before the revolution, when his parents were declared enemies of the state. It’s his secrets that are being revealed, not just the minor acts of torture he inflicts on petty thugs, but the great secret buried in his past, that as a child he turned in his parents. The angel knows it all. But somehow, his sister was saved… A nurse removed her to treat the deep gash on her upper cheek, one just below her eye… A gash which matches a scar on Kari Wuhrer’s face.
In a small cafe, Wuhrer is consulting a priest friend who confides in her that Revelations is not just another book in the Bible, it’s still incomplete and waiting to be finished by the dictation of God. That dictation will happen in the Prophet’s Lexicon and whoever carries it basically holds the fate of the world in their hands. It’s no wonder that Belial , now having jumped into yet another body, is after it. The best way of course, would be to assume the guise of someone close to her, and he now jumps into the body of her priest friend, but bright voices in Wuhrer’s head urge Kari to run. She flees in a city bus.
Belial’s last body shows up, once again without a heart and Wuhrer’s priest friend is in custody. The cops are confused, and Doug Bradley is getting irritated at all the mystery. They put them in an interrogation room with the angel to interrogate, and they seem just a little bit too familiar with each other. Belial finally shows his true colors there, with a large monster bat flying out of his mouth. Angel John rips out his heart to make sure he can’t backtrack, end when no one‘s looking, Belial possesses Bradley. It’s time for Pertwee and the angel to go find Pertwee’s sister. People flood into the road, making the passage impossible.
“Just shove them out of the way!”
“Theyre human beings, not sheep!”
“That one looks like a sheep.”
It’s showdown time, Doug Bradley, versus Kari Wuhrer versus Sean Pertwee and his angel.
A fun cameo to watch for here, make up designer Gary Tunnicliffe is the one driving the cab that Wuhrer takes.
What makes this very unlike the other Prophecy films is how much it’s really more a police procedural then it is a horror film. Not a straight mystery, and the chase aspect with the Demon trying to grab the book from Kari is still there, but we are far more focused on Sean Pertwee’s Character and his angel partner trying to solve the mystery of a string of murders where the heart has been removed from the victim. It’s an interesting direction, but I’m not sure why they chose this one – it feels incongruent with the previous films – even when Dimension chose to change direction with the Hellraiser movies turning them into more head trips, they still felt in some way connected to the greater mythos. This feels like something different. That’s not to say it’s a bad thing, Pertwee’s character in particular has great depth and I’m actually digging the angel a little more in this one, the way he acts as a sort of Oracle. But the two elements clash – as if the movie doesn’t know what it wants to be. I wonder if this was adapted from another script – Dimension was doing a lot of that around this period. That’s not necessarily a criticism. I like a lot of the stuff that dimension was putting out around this time. If you had good producers who were passionate about the project, we would see some interesting films come about in some pleasantly exotic European locales. If you’re a fan of that whole style and the way those movies felt, you’re going to like this. It’s a good role for Wuhrer as well. Much of what I’ve seen her in has her playing the hard edged tough girl, but she’s charmingly vulnerable in this film. She’s playing against type and given a chance to show some range as she goes from passive to frightened to digging down deep to find some sort of inner strength. It’s a good journey for her
Ultimately I actually kind of enjoy this film – it’s good background noise and was a lot more fun than some of the previous entries. That may be because I’m not a devotee of the series, and this new take on it is far more appealing to me.
I can’t wait until the next one!
I have to admit, I’m walking into this one little reluctantly – I don’t dig the Prophecy films, and even though there’s a couple of recognizable names in the credits like Brad Doruff and Vincent Spano, there’s nothing here to really set me on fire. I’m hoping that Patrick Lussier can bring me some kinetic action and fun the way that he has with his vampire films.
Admittedly, the sight of Christopher Walken in long hair, creeping into a blasphemous tent revival definitely gets my attention. It is interesting to see that the film is picking up pretty much right after from the last installment – I remember that at the end of Prophecy 2, (which I watched for the box set project), Walken’s character had been cast out of heaven and left homeless. He wanders into barnburning tent revival with a heritic preacher who isn’t preaching that God is dead, but rather that he just doesn’t care. As he riles the crowd up, Brad Dourif makes his way up with a gun, shooting the preacher down in the middle of everything.
Miles away, there is a new angel on Earth, but what’s really interesting for me is watching his arrival, as he wanders right past the young crucifix that we saw in Dracula 2000 before heading to a wall full of angelic graffiti. I also noticed that Kenny Banya from Seinfeld is the undertaker again. A nice little bit of continuity throughout the Prophecy films – making sure Christopher Walken isn’t the only return player.
The heretic preacher that Brad Dourif supposedly murders at the beginning of the film, is Danyael – the Nephilim created in the last film. Angel Zophael wants to destroy him, but Gabriel, now immortal, is ready to ally with Danyael , if for no other reason than to just mess with the divines plans.
Over at the police station, Walken is interrogated about the shooting. He toys with a cop as the angel wanders the streets, ultimately arriving at the morgue. Zophael shows up just in time to meet up with Gabriel face-to-face, and they both instantly recognize one another. The problem is, Gabriel never knows whose side Zophael is on and he moves to deny him the Nephilim heart. He’s too late anyhow, Danyael awakens on the slab, and as Zophael runs to get him, Danyael’s already making his escape, right past Banya. I’m not sure who’s more upset, the angel or the Nephilim’s girlfriend who verbally accosts him.
Outside Gabriel spots Danyael making good his escape, while Kenny studies Angels and Nephilim and explains it all the girlfriend so he can catch the audience up on the story so far. It’s good enough to close the first act so that were ready to kick things into action for the last 55 minutes.
There’s things that goes in civil servants just shouldn’t know.
Danyael makes his way to the apartment of Brad Dourif, only to find the gunman dead, his wrists cut open, and on his lap, a bloody braille Bible with angelic symbols scrolled through the pages in Dourif’s blood. Zophael isn’t far behind, witnessing Danyael ’s visit through Dourifs eyes. He follows Danyael to a café where Danyaels been binging sugar… typical for angelic spontaneous tissue regeneration. Zopheal whips out a blade in the chase is on. It’s almost enough, he’s got Daniel and his hand, until walking screeches into the alleyway in a car, slamming into Zophael and granting Danyael a reprieve. He takes it and flees while walking chats up his fellow angel.
Danyaels girlfriend catches up with him, she can’t believe he’s alive. It’s a very doubting Thomas and Christlike gesture he shows her his scars and tells her then that his dying memory is of being in her arms. He transfers the memories of the angels falling to her and then sends her away as Zopheal arrives. Almost as she exits, so feel enters. It’s a quick battle, but what we come to expect from angelic combat. Lots of jumping in an air Melee.
Zophael tracks down Danyael’s girlfriend and uses her to try and find him, racing against time before Danyael can encounter and stop Pyreal, The angel of genocide. Soon, in the girlfriend’s truck, they are on the road, following Danyael on his motorcycle and Gabriel in his classic convertible. Walken is hamming up the scene by switching the radio station from “Earth Angel” over to something that he can play trumpet to while he drives. The girlfriend tries to escape her angelic captor by crashing her truck into a rock and disorienting the angel, but the pistol that she’s packing is sadly ineffective when he comes after her. It doesn’t matter, he’s an angel, and he can convincingly talk her into believing that Danyael is not the same person that rose from the morgue.
It all comes down to a showdown in the desert, (With a quick side stop – breakfast for Walken and a cameo for Mary, little girl from the first film, who points Danyael in the right direction) at Gilles Flats, on a Native American reservation, where they’ll make their stand, and where Danyael must make a choice… to stand with Pyreal to usher in the end of the world, or to oppose him.
Lussier is actually a very good choice for this film, his work on Dracula 2000 shows him to be very comfortable with disturbing and creepy religious iconography. He revels in it when he makes Dracula films, and this seems like a great fit for him – just a natural extension of he comfort zone. His style is evident in quick cuts and flashbacks. Some of the sillier conceits like the way angels perch, are minimized in favor of Catholic iconography and world building. I can also see Lussier has influenceed the interesting angelic switchblade Vincent Spano’s Zophael carries. Indeed his performance as a murderous angel stalking his prey reminds me a great deal of Walken from the first film – in fact, it kind of makes Walken’s presence here completely extraneous. Also, the long hair wig just looks bad. It’s a fairly straightforward story and with the exception of Walken’s presence, stands very much on its own. All of these kind of things end up making it a bit superior to the second film, and Lussier’s far more action oriented vision makes this a surprisingly enjoyable entry in the Prophecy series. Sadly enough, it also marks the end of this particular arc– Gabriel’s story is complete and one could very easily view this as part three of a Prophecy trilogy.
There would be two more films after this, but they begin their own story. It’s a tough thing to do that sort of double duty – stand on your own while integrating into and existing series. Nevertheless it’s a task that Lussier and the Prophecy 3 achieve quite well.
Okay, Jennifer Beals and Britney Murphy. This looks like it just might be an interesting cast – and then I see Glenn Danzig listed as one of the angels – and now I feel fear.
The Prophecy 2 is an interesting follow-up to what was a fairly mediocre movie made particularly interesting by the inclusion of Christopher Walken. In general I’m a fan of Christian mysticism, however, the Prophecy never seemed franchise worthy to me though, so I never followed it up and as a result, don’t know what we’re going to see with two – other than the fact that Walken is here, and joined by Eric Roberts and Glenn Danzig – somewhat bizarre choices.
We begin the film with a shot of someone writing ancient texts dissolving into clouds dissolving into the city and getting us into the modern day setting. Then a person crashes down into Jennifer Beals car window, it definitely wakes me up and gets my attention.
Elsewhere, all monastery, dies in a room covered in papers in writing. It feels very non-Sequitur, is. I cut to a man in a black coat that rests into birds before the city concrete splits reminders for them. I read below emerges from underneath the concrete and between flashes of blood, hands reach out, clawing at the dirt and a muddy body street and read it self out before the concrete back together again. Face risers and we recognize Christopher Walken is back.
Because it’s a sequel, they don’t waste any time with world building. A priest discovers the prophecy and is driven mad, then a dark angel open the gateway to hell to bring us the fallen archangel back – and this is all before we even hit the nine minute mark.
Back at the hospital, Beals visits the man who crashed into her windshield, and sits with him in his hospital room as an angel watches on across the street. The man is getting better, and regaining his humor, entertaining children by jumping up and bouncing on the edges of the beds. He wants her home, and because pulling into somebody’s windshield is kind of like a first date, she probably takes him upstairs and gets knocked up.
Back of the monastery, Christopher Walken pays a visit to the monks, it’s a site that receives visions, and walking is sure they’ve seen the person that he is here to get. Seems uncooperative, but fire cleanses all.
Do you angel purchase on the edge of the bed come and watch his feels sleep… And goes back to importance. That. It’s around this time though, that Glenn Danzig shows up and attacks him, mid air. Our boy prevails, but now is on the hunt.
Walkin for his part is looking for Jennifer Beals since she’s pregnant with an angel baby- A somewhat confusing situation. Angel babies grow faster than regular ones and in just a few days, the doctor informs her that she’s in her second trimester. She searches for answers while Walkin searches for her to prevent her nephilim from being born. He grabs a suicidal Britney Murphy for a sidekick (He needs help because he can’t drive a car or navigate DOS on the computer – can you blame him?), keeping her from being able to die (a trick we saw in the previous film as well). She’s weepy and you can tell that we’ve got a very talky fifty two minutes ahead of us.
In the meantime, Beals visits the corner, to view the body that she suspects is her angel baby daddy, now a stiff, thanks to Walken. The main purpose of this scene though, is for Kenny Banya to make his appearance and explain the plot… describing the angels that he had here in the mortuary for years ago.
Her next stop is the monastery of visions where the teacher continues information dump, this time updating us on angelic script and angels in the second war in heaven, for anybody who missed the first film. It’s here that we first find out about the
In the meantime, Beals visits the corner, to view the body that she suspects is her angel baby daddy, now a stiff, thanks to walk in. The main purpose though is for Kenny Banya to make his appearance and explain the plot… Describing the angels that he had here in the mortuary for years ago.
Her next stop is the monastery of visions where the teacher continues information dump, this time updating us on angelic script and angels in the second war in heaven, for anybody who missed the first film. It’s here that we first find out about the nephilim .
Back in the city, Brittany Murphy hacks computer and gets Jennifer Beals address for Walken, allowing him to arrive there before her.
“You have no idea trouble you got there,” he tells Beals as he puts his hand on her belly. “Nothing personal, just business.”
Her angel baby daddy, not dead after all, crashes through the window to rescue her but Walkin stakes him, and then runs out to Brittany Murphy, waiting behind the wheel of the car to race after Beals. It’s amusing to note that they’re driving the same kind of car that Sam Raimi refers to as “the classic” in the Evil Dead films, just a different color. Our Angelic hero spirits her away to the monastery, hoping she’ll be safer there, as he attempts to get her to the archangel Michael and real protection.
Walken finds them of course, but bills in the angel manage to escape while Walkin blunders into a crowd of cops all who all blow him away. He’s not gonna stay dead long though, and revives while the police are questioning Murphy. He collects her and heads out on his way, revealing to us where the final showdown will be held… Eden.
It’s no longer a garden, but rather in industrial hellscape which opens its gate up to Beals and her angel. They navigate through the steamy maze of pies and hot metal until they finally come across the Archangel Michael… This time played by Eric Roberts.
It’s fairly epic to see Walken and Roberts face off across the rusty gate beneath a tumultuous cloudy sky with the occasional angel soaring through it. As Walken gains entrance, it’s time for angelic melees as he sends Murphy to assassinate Beals, but pretty shortly, will all discover just how hard it is to kill the mother of a nephilim .
If you’re a fan of this series, it may be a worthwhile entry, but it doesn’t stand on its own for me (which makes it out of place in the Masters of Terror box set I got it in) and ultimately I found it a little slow, predictable, and boring… This one is probably a pass.
The first time I saw the Prophecy I don’t remember much the film itself, but rather just being really impressed with the idea of hidden scripture in Revelation. I remember being intrigued by the idea of Chris Walken’s angel, and didn’t really know the rest of the cast… Of course now, Viggo Mortensen is a household name due to Lord of the Rings and I’m a huge fan of Amanda Plummer, not only from Pulp Fiction or the World According to Garp, but also from The Fisher King – one of my top five all time favorite films. More importantly though, this is a story by Gregory Widen – you know, the dude who wrote Highlander? Virginia Madsen is also her, but it’s 1995. It’d be easier to list the few movies she WASN’T in during this period (though to be fair, this is only her second horror film, following Candyman). Overall, it’s enough to make me really look forward to this. It’s a great concept, some people lose their faith because Heaven shows them too little, while others lose their faith because heaven shows them too much.
The story begins with the ordination of a priest who trembles at visions of angels falling. This man, Thomas, leaves his priesthood to become a cop instead.
He wanders into his apartment, and finds an angel there, Simon, played by Eric Stoltz , perched on a chair and perusing his books.
“I know you, I know why you left your faith on that floor.”
The angels been reading his thesis, curious if Thomas still believes, or at least thinks he still part of God’s plan.
Outside, Something is arriving. More angels who perch objects and sniff the air as they hunt their prey. Suddenly, the angel is it a Thomas went himself in battle with another one, gouging on his eyes and throw him out the window. It’s this crime scene that Thomas comes upon, a gory face and a blood spattered apartment, brilliantly shocking.
Elsewhere, Virginia Madsen conducts a school choir near an old church. An old soldier is being laid to rest there, and the angel Simon comes by to spirit away his soul, to carry it and hide it somewhere else.
We’re about 20 minutes in before the story really picks up – the book with the extra chapters of Revelation show up in the morgue and we see Steve Hytner for the first time. You might know him better from his recurring role as Kenny Bania on Seinfeld. He’d be a regular in these movies, apearing all the way through the initial trilogy. He’s introduced as Joseph (but we’re still ging t call him Bania, because….come on), explaining the unusual anatomy of an angel – no growth rings on the bones, no optical fibres in the eyes, things like that. Our main character, a Priest trying to take the text back home to study, is where we finally got our first glance of Christopher Walken. Walken looks different here – his slicked back black hair looks dyed and unhealthy, and his friend seems emaciated with unhealthy looking skin. (you might be able to associate that with some of this to events like the one Viggo Morgensen relates, about Walken eating garlic cloves before shooting there seems together ). There is more care taken to make him look otherworldly in this gone then they would ever give to the sequels. still, his swagger works – the way he can make a person faint dead away, or sniffs and smels and even licks debris while he’s huntng or causes a dead body to burst into flames. The clinical detachment and determination which is a interesting contrast to Eric Stoltz character who seems to care about everything and that’s a great job of showing the uniqueness of each angel. It’s still stunt casting, but there’s something about Walkin that only he could really get away with the whole, the whole hunting by smell pantomime. Watching the way angels perch on things, it still feels fresh here – I remember it being innovative, whereas by the later sequels it would just feel tired.
Simon for his part, is hiding in the school… In an abandoned area where he runs into a young girl named Mary. She’s one of Virginia Madsen students, and Simon hides the soul in her.
Walken’s Angel has a minion, Who he’s leaning on help him grab some of of Thomas, something that will help him in his search for Simon. Meanwhile, he’s off to torch the other angel’s body, because we don’t want any evidence of what’s going on here. This is where we start to get The text Thomas has, a lost chapter of the Bible that describes a second war in heaven.
The Angel and his minion are off to the desert… You can see the contempt Walkin has for humans in the way he talks to him and when he discovers the soul has been taken from the body he is enraged. Simon managed to pass the soul on just in time though, because Walkin finds him next, and it’s Simon’s turn to burn .
Meanwhile, Thomas’s investigation leads him out to the school where he meets Madsen who is still caring for Mary… Now sick from the strain of having to hold to souls in her. She draws his memories in crayon and dreams of the dead soldier, describing the way Japenese men bleed in the cold. As Walkin’s Gabriel gets closer, Thomas finds himself as the only protector she and Madsen have.
We are about halfway through the movie when we get the plot – there is still war in heaven, and affection of angels are jealous that God loves humans and not them. It’s the same basic elements that we would get in every other sequel, but it’s never done better than in this first film. I know, big surprise – the original film is superior to all the sequels, but to be fair – that’s not always true. A lot of times the real mythology of a series, its heart, shows up on the second or third film (fr instance, we never hear about Ash working at “S” mart until the third Evild Dead movie. We don’t get Jason’s hockey mask until the third Friday movie. Heck, Luke dosen’t even find out Darth Vader is is father until the second Star Wars movie…..spoiler alert by the way). Not so here, the Prophecy is born with it’s lore and mythos fully realized. Its engaging and original, but only once. Despite being one of those typical 90s horror movies with no blood, latex, or monsters, it surprisingly stands up to the test of time and ended up being a much better film than what I was expecting with shocking number of familiar faces.