As slow-burns go, Fred Walton's mysterious catholic-bounded thriller takes the cake with its minimal and sombre treatment. It's one of those progressive and morally hounded plots (from William X. Kienzle's novel), which is a puzzle to decipher, as you find yourself also personally getting involved with the brooding investigation with realistic characters. Some of the scheming is a bit hard to swallow, but for most part it's smartly penned (by Elmore Leonard and Fred Walton) and the low-key approach seems to make you concentrate on the lyrical waxing (especially on those commitments to the priesthood and the self-doubting). However the pacing seemed to plod a bit too much, where some monotonous patches seemed to lose focus. Two stalwart figure heads; an impressive Donald Sutherland and equally so Charles Durning are engagingly strong. Sutherland has a sincere presence about him, that even if he looks half-asleep. He's still watchable. Josef Sommer and Belinda Bauer offer able support. Walton's direction is slickly presented, but feels shapeless and dry. At least he did construct a subtle, startlingly dreary atmosphere and the music score etches out a placidly haunting vibe. The violence happened mostly off-screen, but managed to leave a chilling mark and the Detroit setting complements the weary imprint. A sleepy and glum, but well-acted and rather moving thriller.
20 Reviews
Catholic mystery is a whole new genre
BandSAboutMovies15 September 2017
Is this a giallo? A neo-noir? A detective story? Let's not play with labels. Let's just see it for what it is — a whodunit where priests and nuns are the victims of a serial killer who leaves a black rosary on their dead bodies.
Directed by Fred Walton (When a Stranger Calls) and adapted by Elmore Leonard, this is a dark, rough take on William X. Kienzie's novel (Kienzie left the Catholc priesthood in 1974 after 20 years due to the Church's refusal to remarry divorced people). This may have been the only movie concerning the detective skills of Father Robert Koesler (Donald Sutherland), but the character appeared in twenty three more novels from Kienzie.
The character is a progressive priest — even falling for a reporter, Pat Lennon (Belinda Bauer, RoboCop 2, Flashdance). He serves with Father Ted Nabors (Charles Durning, Tootsie), who is the exact opposite — a racist throwback to pre-Vatican 2 who follows the Church to the letter of the law.
The central dilemma of the film? The killer confesses to Koesler, who can't do anything about it, thanks to the Church's Seal of Confession. But what if other lives — maybe even his own — are in danger?
The film was shot on location at Detroit's Holy Redeemer Parish, and if you look hard enough, you'll see an uncredited Jack White — years before The White Stripes — as an altar boy. That feels like it should be an urban legend, but it is true.
The film has what some describe as a leaden pace. There are some great moments in it, such as when Koesler hears the killer in a cemetery and the ending, where the real killer is revealed. I'm always debating with myself whether or not to spoil the ending. It's a thirty year old movie, but I feel weird doing so here. Must be the Catholic in me.
Read more at bandsaboutmovies.com/2017/08/16/the-rosary-murders-1987/
Directed by Fred Walton (When a Stranger Calls) and adapted by Elmore Leonard, this is a dark, rough take on William X. Kienzie's novel (Kienzie left the Catholc priesthood in 1974 after 20 years due to the Church's refusal to remarry divorced people). This may have been the only movie concerning the detective skills of Father Robert Koesler (Donald Sutherland), but the character appeared in twenty three more novels from Kienzie.
The character is a progressive priest — even falling for a reporter, Pat Lennon (Belinda Bauer, RoboCop 2, Flashdance). He serves with Father Ted Nabors (Charles Durning, Tootsie), who is the exact opposite — a racist throwback to pre-Vatican 2 who follows the Church to the letter of the law.
The central dilemma of the film? The killer confesses to Koesler, who can't do anything about it, thanks to the Church's Seal of Confession. But what if other lives — maybe even his own — are in danger?
The film was shot on location at Detroit's Holy Redeemer Parish, and if you look hard enough, you'll see an uncredited Jack White — years before The White Stripes — as an altar boy. That feels like it should be an urban legend, but it is true.
The film has what some describe as a leaden pace. There are some great moments in it, such as when Koesler hears the killer in a cemetery and the ending, where the real killer is revealed. I'm always debating with myself whether or not to spoil the ending. It's a thirty year old movie, but I feel weird doing so here. Must be the Catholic in me.
Read more at bandsaboutmovies.com/2017/08/16/the-rosary-murders-1987/
This film rises above its major flaw.
Tim-17728 June 1999
The author has relied heavily upon the literary device of COINCIDENCE in constructing his plot; i.e., he expects you to believe that several people living in the same part of the country would have certain proper names. I'd love to explain that in detail, but doing so would ruin part of the ending. Rent this movie and see if you agree. But this flaw will not diminish your enjoyment of the film, as there is enough action to keep the murder mystery fan happy. I was never bored during any of the times I watched this film. I recommend this any day of the week.
Why did he kill them?
jjwolverine31 May 2023
I grew up in Detroit, so it's surprising that I've never seen this film. I played college baseball, and one of the guys on our team went to high school at Holy Redeemer (the church in this movie), so it was interesting to me in that way, as I'd never seen this church before.
The thing that bothered me as the movie ended is why the killer was killing Catholic priests and nuns. Maybe it was there and I missed it, but the end of the movie left me thinking "why?". After watching the whole movie, I felt let down at the ending.
Father Koesler (Sutherland) seemed to me to be less than devoted to his calling. Why did he break Catholic rules and baptize a baby born out of wedlock? Whether or not that's a good rule, he is required to abide by it, not pick and choose which he'll obey and which he'll ignore. And why did he break into someone's house? Why would a priest commit a felony?
I'm considering re-watching this film to see if I missed a few things.
The thing that bothered me as the movie ended is why the killer was killing Catholic priests and nuns. Maybe it was there and I missed it, but the end of the movie left me thinking "why?". After watching the whole movie, I felt let down at the ending.
Father Koesler (Sutherland) seemed to me to be less than devoted to his calling. Why did he break Catholic rules and baptize a baby born out of wedlock? Whether or not that's a good rule, he is required to abide by it, not pick and choose which he'll obey and which he'll ignore. And why did he break into someone's house? Why would a priest commit a felony?
I'm considering re-watching this film to see if I missed a few things.
BAd script and slow paced but still very watchable
ozthegreatat4233031 March 2007
Warning: Spoilers
This film is not as bad as some of the comments might have painted it. Nevertheless, it does suffer from a dull script in places. Someone is going around murdering priests and nuns, as it later turns out using the coincidence of their names matching the ten commandments (sometimes with a bit of a stretch. Donald Sutherland is a priest faced with a dilemma, as he watches these people die. The murderer has confessed to him, and after a bit of amateur sleuthing he knows who it is. But he is bound by the churches vow of sanctity of the confessional not to break the seal of confession. he is even cautioned by his fellow priests that me may not do so even to save lives. This is not Sutherland's best role because he is not given enough material to work with. Charles Durning on the other hand is right on as the hard nosed conservative priest who lives by the book with no room for compassion. He is abrupt and even down right tactless when dealing with his parishioners. Joseph Somer gives a fine performance as the police detective who knows that Father Koesler (Sutherland) knows something but also realizes he cannot compel him to share the knowledge. The clue in the case is a black rosary left in the hand of each of the victims. Father Koesler wonders if he will be next.
A good attempt, but not that special
Aly20020 December 2016
Warning: Spoilers
While the filmmakers of this murder mystery try their best to adapt William Kienzle's novel of the same name, the effort is sadly in vain for the majority.
Donald Sutherland does turn in a solid performance as protagonist Catholic priest Father Robert Koessler, the confessor of the film's murderer who is burdened by his oath of the confessional and cannot reveal the penitent's name. Sutherland portrays vulnerability in his trademark low-key body language and subtle facial expressions. However the filmmakers make an error by trying to establish a relationship between Sutherland and actress Belinda Bauer's reporter Pat (as the characters have no interaction in the novel); the exchanges between the actors are too awkward to take seriously.
Charles Durning also delivers some solid scenes as Father Ted Nabors, a fellow priest in Koessler's Catholic order and one of the potential victims of the killer. Durning portrays the priest as brash while the novel has the character as more worried man once the police and Father Koessler warn him of the possible danger of being slain. This difference is only minor and does not do real harm to the character.
The film follows the novel's narrative quite simply with a maniacal killer on the loose slaughtering priests and nuns of the Catholic faith. However the movie tones down the book's violence (a good effect for certain murders described in the novel) and eliminates some key deaths and also takes away key characters like the newspaper editor and lead reporter from the novel. Also missing from the majority of the film's story is Lieutenant Koczneski (Josef Sommer), who plays a key role in working with Sutherland's character in the novel and has less than two to three scenes in the film.
Give this movie a view if you choose, but the book is better.
Donald Sutherland does turn in a solid performance as protagonist Catholic priest Father Robert Koessler, the confessor of the film's murderer who is burdened by his oath of the confessional and cannot reveal the penitent's name. Sutherland portrays vulnerability in his trademark low-key body language and subtle facial expressions. However the filmmakers make an error by trying to establish a relationship between Sutherland and actress Belinda Bauer's reporter Pat (as the characters have no interaction in the novel); the exchanges between the actors are too awkward to take seriously.
Charles Durning also delivers some solid scenes as Father Ted Nabors, a fellow priest in Koessler's Catholic order and one of the potential victims of the killer. Durning portrays the priest as brash while the novel has the character as more worried man once the police and Father Koessler warn him of the possible danger of being slain. This difference is only minor and does not do real harm to the character.
The film follows the novel's narrative quite simply with a maniacal killer on the loose slaughtering priests and nuns of the Catholic faith. However the movie tones down the book's violence (a good effect for certain murders described in the novel) and eliminates some key deaths and also takes away key characters like the newspaper editor and lead reporter from the novel. Also missing from the majority of the film's story is Lieutenant Koczneski (Josef Sommer), who plays a key role in working with Sutherland's character in the novel and has less than two to three scenes in the film.
Give this movie a view if you choose, but the book is better.
better than expected
mjneu5930 December 2010
Donald Sutherland is a Detroit priest who hears the confession of a serial killer with a grudge against the clergy, and is later forced by the ethics of his vocation to (reluctantly) hunt down the murderer himself, unearthing a spine-chilling string of motivation behind each new death. It could have been just another routine shocker, but a clever script and some unusually taciturn direction turns the otherwise familiar material into a modest but intriguing whodunit (actually more a 'whydunit') set against the rituals and mysteries of the Catholic Church, always a reliable source of guilt and intrigue. The steady accumulation of clues and evidence is interrupted only by an unsurprising (and unnecessary) romantic subplot, which happily compromises neither the mystery itself nor Sutherland's oath of celibacy.
Disappointing thriller.
gridoon14 December 2000
Donald Sutherland is good, but he can't make this film worth seeing all by himself. The director doesn't seem to have the temperament that's needed for a successful thriller, the plot moves slowly and monotonously, and the whole thing just plods on to an ending that fails to explain the killer's motivation satisfyingly. (*1/2)
Well-intentioned, but nothing special.
Hey_Sweden21 April 2016
Donald Sutherland plays Father Robert Koesler, a priest in Detroit who hears the confession of a murderer who is going around offing various priests and nuns. After doing some amateur sleuthing, Koesler figures out who the killer is. But he's bound by church law to say nothing. His superiors - among them, the hard nosed, conservative Ted Nabors (Charles Durning) - believe that nothing can violate the sanctity of the confessional. So, as you can guess, Koesler is a very troubled man. Koznicki (Josef Sommer), the detective on the case, is not as concerned with the rules of the Catholic church, aiming to catch himself a killer.
This sure sounds like a neat premise for a thriller, but on the whole the story isn't told in a particularly interesting way. The subplot of a potential romance, between Koesler and Pat Lennon (a reasonably appealing Belinda Bauer), really doesn't add anything to the material. Fred Walton ("When a Stranger Calls" '79, "April Fool's Day" '86) directs with competence and gives the proceedings a very somber quality. On location shooting ("The Rosary Murders" was actually filmed in Detroit) helps a bit, although the story doesn't exactly hold any surprises. (The killer turns out to be a truly disgusting piece of work.) That's too bad, considering that the two credited screenwriters are director Walton and the great author Elmore Leonard. There is a moment around the one hour mark that struck this viewer as simply too hard to swallow.
There are some solid actors and familiar faces among the cast: Anita Barone, Rex Everhart, Stefan Gierasch, Tom Mardirosian, Mark Margolis, James Murtaugh, Lupe Ontiveros, Addison Powell. But the movie is anchored the most by Sutherland, who plays Koesler as an easygoing, likable chap with a fairly progressive and compassionate attitude.
He and Durning manage to make this worth seeing.
Six out of 10.
This sure sounds like a neat premise for a thriller, but on the whole the story isn't told in a particularly interesting way. The subplot of a potential romance, between Koesler and Pat Lennon (a reasonably appealing Belinda Bauer), really doesn't add anything to the material. Fred Walton ("When a Stranger Calls" '79, "April Fool's Day" '86) directs with competence and gives the proceedings a very somber quality. On location shooting ("The Rosary Murders" was actually filmed in Detroit) helps a bit, although the story doesn't exactly hold any surprises. (The killer turns out to be a truly disgusting piece of work.) That's too bad, considering that the two credited screenwriters are director Walton and the great author Elmore Leonard. There is a moment around the one hour mark that struck this viewer as simply too hard to swallow.
There are some solid actors and familiar faces among the cast: Anita Barone, Rex Everhart, Stefan Gierasch, Tom Mardirosian, Mark Margolis, James Murtaugh, Lupe Ontiveros, Addison Powell. But the movie is anchored the most by Sutherland, who plays Koesler as an easygoing, likable chap with a fairly progressive and compassionate attitude.
He and Durning manage to make this worth seeing.
Six out of 10.
Too Dark for Its Own Good
classicalsteve13 October 2021
Murder mysteries generally speaking are criminal fantasies, outside of those based on real-life or so-called true crime. "The Rosary Murders" is based on a neo-noir novel by William X. Kienzle who was a real catholic priest. The story involves a series of murders associated with people in the catholic church, some laymen/laywomen while others are clergy. The murderer leaves behind a rosary. Donald Sutherland plays Father Koesler, a sort of priest-turned-detective. Also, at one point, the murderer confesses to the Koesler and he has to decide if he should break the church law of keeping confession confidential.
Typically, civilians outside of law enforcement are not supposed to engage in their own investigations of a crime being handled by the police. However in this story Father Koesler is given a lot of leeway to explore the case and interview witnesses. It turns out there's a backstory involving a nun who has entered into a cloistered convent where she has taken vows of silence. Koesler realizes she knows something crucial to the case.
Overall, I didn't find this film very entertaining. It was interesting, but also very gruesome and the overall feel was almost so real it was verging on not being terribly entertaining. Strangely films like "The Silence of the Lambs", though gruesome, are compelling from beginning to end. I didn't find that true with this film. Compelling but not really entertaining, and if it's not entertaining, what's the point?
Typically, civilians outside of law enforcement are not supposed to engage in their own investigations of a crime being handled by the police. However in this story Father Koesler is given a lot of leeway to explore the case and interview witnesses. It turns out there's a backstory involving a nun who has entered into a cloistered convent where she has taken vows of silence. Koesler realizes she knows something crucial to the case.
Overall, I didn't find this film very entertaining. It was interesting, but also very gruesome and the overall feel was almost so real it was verging on not being terribly entertaining. Strangely films like "The Silence of the Lambs", though gruesome, are compelling from beginning to end. I didn't find that true with this film. Compelling but not really entertaining, and if it's not entertaining, what's the point?
Donald Sutherland exploring predicaments of a Catholic priest and the church
clanciai23 September 2023
Warning: Spoilers
Whatever considerations you may have about Donald Sutherland and his many arguable roles of all sorts, from the bottom and up at least half way, but he was never in a bad film, and his roles were never without depth. Here he is a Catholic priest whose Catholic community in Detroit suffers from a serial killer, murdering only devoted Catholics, even priests and nuns, and suddenly one day Donald Sutherland as father Koesler finds the murderer in his confessional. It's a great set-up, like in Hitchcock's "I Confess" with the same extremely difficult dilemma: should the priest break the seal of the confession to save lives or just let the murderer go on killing innocent victims after absolution? Donald Sutherland can't just do nothing, so he investigates the case and learns the whole story, the murderer's very difficult case of having lost his only daughter at the age of 16 by suicide, while Donald of course can't understand why the killer blames the church for this. So he continues delving into the case, and in the end all the facts are clear, everything makes sense, and the murderer makes his final bow without Donald having had to break the seal. It's a labyrinth of matters of conscience, and the Catholic Church is very much put on trial, especially in view of the global scandals of the last 15 years. If you are a Catholic, you will find the film utterly interesting and engrossing, and if you are not you might understand it anyway.
Moody, austere Catholic serial killer drama
drownsoda9011 June 2022
"The Rosary Murders" follows a Catholic parish in Detroit that is plagued by a series of brutal murders. One of the priests (Donald Sutherland) is joined by a journalist (Belinda Bauer) attempting to cover the story; both aim to stop the killer before he dispatches more nuns, monks, and members of the Holy Order.
This is a downbeat and gloomy affair from Fred Walton, who, the year prior, directed the playful, joke-filled slasher "April Fool's Day." "The Rosary Murders" is more a return to Walton's style as seen in "When a Stranger Calls" (1979) in that it is a much more austere, dour take on the genre. This film gives no reprieve, and the subject matter is relentlessly grim. It has a similar taste to other Catholic-themed slasher films, such as "Alice, Sweet Alice" (1976), or even "The Exorcist III" (1990), both of which set a serial killer narrative against the stark backdrop of the Catholic Church. There is something inherently transfixing (and sinister) about this formula that evokes a creep factor that is hard to shake (especially if you were brought up Catholic). "The Rosary Murders" also has a late-'80s flair about it that at times feels redolent of a number of "Unsolved Mysteries" episodes.
What works best about the film perhaps is the atmosphere: the wintry Detroit setting only adds to the ambiance, and the gothic cathedral and parish buildings are moodily photographed throughout. Donald Sutherland gives a muted but solid performance as the central priest, while Charles Durning has a smaller part as one of Sutherland's superiors. Belinda Bauer is great as the spunky reporter and has good chemistry with Sutherland, but it is ultimately wasted as her character is given little to do before altogether disappearing for the last quarter of the film (which is one of its main faults). Another instance where the film falters is that it has an even-keeled tone from beginning to end that drains the proceedings of any high suspense; the identity and motive of the killer is also unveiled too early, leaving little surprises to be had, and where the film feels like it should reach a fever pitch, it simply doesn't.
All that being said, I still found "The Rosary Murders" absorbing and extremely watchable. It is a dour, gloomy affair that works better as a mood piece than it does a thriller or mystery. Its narrative issues aside, the shadowy halls of the parish and the chilly Detroit exteriors impress a somberness on the viewer that is unusually stirring. 7/10.
This is a downbeat and gloomy affair from Fred Walton, who, the year prior, directed the playful, joke-filled slasher "April Fool's Day." "The Rosary Murders" is more a return to Walton's style as seen in "When a Stranger Calls" (1979) in that it is a much more austere, dour take on the genre. This film gives no reprieve, and the subject matter is relentlessly grim. It has a similar taste to other Catholic-themed slasher films, such as "Alice, Sweet Alice" (1976), or even "The Exorcist III" (1990), both of which set a serial killer narrative against the stark backdrop of the Catholic Church. There is something inherently transfixing (and sinister) about this formula that evokes a creep factor that is hard to shake (especially if you were brought up Catholic). "The Rosary Murders" also has a late-'80s flair about it that at times feels redolent of a number of "Unsolved Mysteries" episodes.
What works best about the film perhaps is the atmosphere: the wintry Detroit setting only adds to the ambiance, and the gothic cathedral and parish buildings are moodily photographed throughout. Donald Sutherland gives a muted but solid performance as the central priest, while Charles Durning has a smaller part as one of Sutherland's superiors. Belinda Bauer is great as the spunky reporter and has good chemistry with Sutherland, but it is ultimately wasted as her character is given little to do before altogether disappearing for the last quarter of the film (which is one of its main faults). Another instance where the film falters is that it has an even-keeled tone from beginning to end that drains the proceedings of any high suspense; the identity and motive of the killer is also unveiled too early, leaving little surprises to be had, and where the film feels like it should reach a fever pitch, it simply doesn't.
All that being said, I still found "The Rosary Murders" absorbing and extremely watchable. It is a dour, gloomy affair that works better as a mood piece than it does a thriller or mystery. Its narrative issues aside, the shadowy halls of the parish and the chilly Detroit exteriors impress a somberness on the viewer that is unusually stirring. 7/10.
Not worth the watching
guilfisher-129 May 2006
Warning: Spoilers
This 1987 movie was just awful. Directed by Fred Walton and adapted from a novel by William X. Kiensle, it basically was a combination of the director and his actors that made this terrible. If I had to look at Donald Sutherland one more time with his blank expression I thought I'd drop. He was constantly staring into space. No expression so you had no idea where the film was going. He stands around watching people drop dead all around him. Now, no one but Sutherland, can give that blank stare so well. He does this in most of his films. I fail to see this guy's acting abilities. The biggest sit around and stare is when the real murderer kills two police officers and is wounded while our hero sits and stares into space as the killer finally gets up and runs away. I mean, really.
However the film is saved by several actors, thank Heavens, who turned in believable performances. Charles Durning is convincing as a priest who dips into the wine a little more than usual. James Murtaugh is very convincing as the murderer and gives an honest performance. And finally Josef Sommer, who I liked in WITNESS, is wonderful. When he told Sutherland off for with holding evidence, I cheered. An under rated actor, he is always dependable in giving fine performances. The actors had expressions on their faces. You could tell what they were thinking. Sutherland doesn't express any facial thoughts at all. I give this a one for the actors that gave credible performances.
However the film is saved by several actors, thank Heavens, who turned in believable performances. Charles Durning is convincing as a priest who dips into the wine a little more than usual. James Murtaugh is very convincing as the murderer and gives an honest performance. And finally Josef Sommer, who I liked in WITNESS, is wonderful. When he told Sutherland off for with holding evidence, I cheered. An under rated actor, he is always dependable in giving fine performances. The actors had expressions on their faces. You could tell what they were thinking. Sutherland doesn't express any facial thoughts at all. I give this a one for the actors that gave credible performances.
Absolution
sol121813 May 2006
***SPOILERS*** Starting with the 40 day's of Lent on Ash Wednesday a series of murders occurred in and around this suburban Detroit church ,The Holy Redeemer, that has everyone, the public and police, shocked and puzzled to who would do such a thing. Leaving a rosary on the bodies of his victims the killer seems to be sending a message to what his motives are. Later in the movie he makes himself and is motives known during confession to father Robert Koesler, Donald Sutherland.Three years ago his 16 year old daughter was killed and the murderer is holding the church and it's priests and nuns responsible for her death and now is exacting vengeance on them.
Father Koesler unable, and unwilling, to go to the police in order not to break the church's age old policy of not revealing confession's of it's members and congregation is now troubled. Feeling that whoever is now killed by this "Rosery Murderer" will be his responsibility and tries to solve the killings himself by tracking down leads that the killer gave him.
Checking out three year-old newspaper obituaries Father Koesler finds the name of a Cathy Javison, Jane M. Smith, who died at the age of 16 the same age that the killer said his daughter died. Going to the Catholic school that Kathy attended to find out about the circumstances of her death Father Koesler is shocked to find out that the young girl committed suicide! It's seems that her suicide was covered up by he school since Kathy has a Catholic funeral service at the Saint Camillus Chaple and was buried in a Catholic cemetery.
Meanwhile back at the Holy Redeemer Church the murders of priest's and nuns continue with Father Koesler trying to find out just where the late Kathy Javison father, the prime suspect in the killings, is since the house that the Javisons used to live at was found abandoned by Father Koesler.
Going back to Kathy's school father Koesler get in touch with Kathy's teacher and good friend and confidant Sister Mary,Anna Minot, who after upholding a three year old vow of silence since Kathy death agrees to tell the priest the reason for her killing herself. Sister Mary's revelations shocks Koesler almost to the point where he has trouble understanding what she's telling him! Even though it was as clear as a bell to anyone in the audience listening.
With the killing reaching a climax with the coming of the end of Lent, Good Friday, is starts to crystallize in Father Kloesler's, as well as the police, mind that the main object of the Rosary killers obsession is non other then the presiding priest of The Holy Redeemer Church himself Father Ted Nabors, Charles Durning. We later find out, from the killer Kathy's father Robert Javison ,James Murtaugh, that Father Nabors was the priest to whom he confessed his sins to just before his daughter killed herself. Sins that Javison committed that directly lead to his daughters suicide!
Somewhat overdone crime drama that has too many side or sub-plots that makes it a bit hard to follow. It's when "The Rosary Murders" starts to focus in on it's main theme and we start to zero on the killer that it's starts to get interesting. The reason for his murderous rampage against those in the church was in helping his daughter Kathy not that the killers actions in any way were justified though you can understand his sick and demented reasoning. He was trying to offset what he did to his daughter and put the entire blame on the church who's only crime, in regard to Kathy's suicide, was that of omission.
Father Koesler unable, and unwilling, to go to the police in order not to break the church's age old policy of not revealing confession's of it's members and congregation is now troubled. Feeling that whoever is now killed by this "Rosery Murderer" will be his responsibility and tries to solve the killings himself by tracking down leads that the killer gave him.
Checking out three year-old newspaper obituaries Father Koesler finds the name of a Cathy Javison, Jane M. Smith, who died at the age of 16 the same age that the killer said his daughter died. Going to the Catholic school that Kathy attended to find out about the circumstances of her death Father Koesler is shocked to find out that the young girl committed suicide! It's seems that her suicide was covered up by he school since Kathy has a Catholic funeral service at the Saint Camillus Chaple and was buried in a Catholic cemetery.
Meanwhile back at the Holy Redeemer Church the murders of priest's and nuns continue with Father Koesler trying to find out just where the late Kathy Javison father, the prime suspect in the killings, is since the house that the Javisons used to live at was found abandoned by Father Koesler.
Going back to Kathy's school father Koesler get in touch with Kathy's teacher and good friend and confidant Sister Mary,Anna Minot, who after upholding a three year old vow of silence since Kathy death agrees to tell the priest the reason for her killing herself. Sister Mary's revelations shocks Koesler almost to the point where he has trouble understanding what she's telling him! Even though it was as clear as a bell to anyone in the audience listening.
With the killing reaching a climax with the coming of the end of Lent, Good Friday, is starts to crystallize in Father Kloesler's, as well as the police, mind that the main object of the Rosary killers obsession is non other then the presiding priest of The Holy Redeemer Church himself Father Ted Nabors, Charles Durning. We later find out, from the killer Kathy's father Robert Javison ,James Murtaugh, that Father Nabors was the priest to whom he confessed his sins to just before his daughter killed herself. Sins that Javison committed that directly lead to his daughters suicide!
Somewhat overdone crime drama that has too many side or sub-plots that makes it a bit hard to follow. It's when "The Rosary Murders" starts to focus in on it's main theme and we start to zero on the killer that it's starts to get interesting. The reason for his murderous rampage against those in the church was in helping his daughter Kathy not that the killers actions in any way were justified though you can understand his sick and demented reasoning. He was trying to offset what he did to his daughter and put the entire blame on the church who's only crime, in regard to Kathy's suicide, was that of omission.
Would Have Been Better in a More Talented Director's Hands
thalassafischer28 February 2023
I like religious horror and giallos. For example one of my favorite horror films is Alice Sweet Alice, I think The Exorcist is a well-written drama, and I lean towards the Italian films with spiritual or religious imagery. The Rosary Murders deals with a lot of complex issues in the Catholic church, someone might argue the plot of this film is absurd, but it's not. A priest cannot tell on a child rapist or a serial killer even if they confess. One of the reasons I am giving this flick a solid six is because it attempted to confront these kinds of issues head-on, as well as other problems like overly focusing on sexuality in the American conservative churches to the point of insanity, and the mandatory celibacy of priests.
But to see Donald Sutherland in this film a scant fifteen years after the epic supernatural giallo, Don't Look Now, is a little sad. The Rosary Murders would have been so much better handled by a director with a better eye, who actually understood lighting and atmosphere and editing techniques. Instead, this movie looks like it could have been made for tv, and I consider it a stylistic flaw when handling this kind of subject matter. No one wants to watch a movie about religious murders that looks like an episode of Hill Street Blues.
But to see Donald Sutherland in this film a scant fifteen years after the epic supernatural giallo, Don't Look Now, is a little sad. The Rosary Murders would have been so much better handled by a director with a better eye, who actually understood lighting and atmosphere and editing techniques. Instead, this movie looks like it could have been made for tv, and I consider it a stylistic flaw when handling this kind of subject matter. No one wants to watch a movie about religious murders that looks like an episode of Hill Street Blues.
Great book, terrible movie
mksaelens26 November 2012
Warning: Spoilers
Based on the best-selling novel of the same name by priest-turned-author William X. Kienzle. It was the first of 24 books written by Kienzle, and the only one adapted to the screen, and it's easy to see why.
The screenplay by Elmore Leonard used almost none of the material from the book, turning what could've been a really nice police procedural with a religious bent into a morality play that didn't even surface until well into the final third of the book.
Donald Sutherland played the lead role like he was in a trance, while Charles Durning's performance as Father Nabors -- the next-to-last intended victim of the killer -- did little better.
Easily one of the worst movies I've ever seen.
The screenplay by Elmore Leonard used almost none of the material from the book, turning what could've been a really nice police procedural with a religious bent into a morality play that didn't even surface until well into the final third of the book.
Donald Sutherland played the lead role like he was in a trance, while Charles Durning's performance as Father Nabors -- the next-to-last intended victim of the killer -- did little better.
Easily one of the worst movies I've ever seen.
A film with unrealized potential
vincentlynch-moonoi7 August 2015
Warning: Spoilers
Two wonderful stars! Oh boy, this should be a good whodunit! But even Donald Sutherland and Charles Durning couldn't save this film. That's not to say it's bad film, but it doesn't exactly keep you on the edge of your seat...which a mystery ought to.
Perhaps the biggest problem here is pacing. It's an interesting concept (though not exactly unique) -- someone is killing priests and sisters at one particular parish. But why? And who? Sutherland plays a more modern priest who decides to look into the murders himself. And, as he begins to do so, he seems to be putting himself in line as a future target. Durning plays an old-fashioned priest who rules with an iron fist...and you get to thinking that he is the reason behind the murders...but who is doing it? Sutherland is a top notch actor, but here he doesn't seem very enthusiastic about his role. During, also top notch, has a far smaller role, and frankly, not a good scene in the whole movie. Clearly, this is Sutherland's film.
I would guess that the Catholic Church disliked this film a great deal. I'm not sure the director intended to do so, but it struck me just how bizarre some of the rites of the Catholic Church really are when serial killers can be protected.
Perhaps the biggest problem here is pacing. It's an interesting concept (though not exactly unique) -- someone is killing priests and sisters at one particular parish. But why? And who? Sutherland plays a more modern priest who decides to look into the murders himself. And, as he begins to do so, he seems to be putting himself in line as a future target. Durning plays an old-fashioned priest who rules with an iron fist...and you get to thinking that he is the reason behind the murders...but who is doing it? Sutherland is a top notch actor, but here he doesn't seem very enthusiastic about his role. During, also top notch, has a far smaller role, and frankly, not a good scene in the whole movie. Clearly, this is Sutherland's film.
I would guess that the Catholic Church disliked this film a great deal. I'm not sure the director intended to do so, but it struck me just how bizarre some of the rites of the Catholic Church really are when serial killers can be protected.
The Really Awful Murders
eucalyptus916 September 2008
Warning: Spoilers
I can't believe that anybody has a good thing to say about this movie. It's full of old hoary clichés about the Catholic Church; full of unnecessary filler-type sub-plots; the main plot centres around a series of truly preposterous killings in which the names of the victims are related to the 10 Commandments (although in some cases, the link is pretty tenuous); the dialogue is awful (Elmore Leonard really had an off-day with this one); and the acting atrocious. Donald Sutherland has made some good movies - "Don't Look Now", for instance - but he's also had his share of shockers, and this one ranks right up there. The vacant, sleep-walking style adopted in this film gets tiresome very quickly. None of the other actors has much to do, and they all act accordingly, as though they really had better things to do.
It gets 1/10 because I watched it to the end - a mistake, perhaps, since the end was as ludicrous as the rest, but maybe I was hoping Donald might get something to wake him up. Like a bullet.
It gets 1/10 because I watched it to the end - a mistake, perhaps, since the end was as ludicrous as the rest, but maybe I was hoping Donald might get something to wake him up. Like a bullet.
Pure Pitch Black Dark Mystery.
DarkSpotOn11 May 2023
I'm glad I can put this movie in the same boat as Peeping Tom, Henry Portrait of a Serial Killer, Angst, Untold Story, I Saw The Devil, Bedevilled...
This movie was incredibly strong. It is a movie that to me at least was never boring. It's a movie that takes time to develop, but it is a movie that will really question life. It's a really twisted dark film. Acting top-notch, including the story.
It's scary how our main villain is pure evil. He "loved" his daughter, for his own sick pleasures. Because she couldn't handle his monster behavior, she just had to end it, and nobody wanted to help her, and because his slave or toy is gone, he went out of his way to seek revenge...
I usually do not like mystery films; not a fan of Se7en or First Silence of the Lambs. But this is how it should be done. We actually watch how the story develops, we got likable characters that actually have a soul, and we actually get footage of something going on, not just an investigation.
This movie was incredibly strong. It is a movie that to me at least was never boring. It's a movie that takes time to develop, but it is a movie that will really question life. It's a really twisted dark film. Acting top-notch, including the story.
It's scary how our main villain is pure evil. He "loved" his daughter, for his own sick pleasures. Because she couldn't handle his monster behavior, she just had to end it, and nobody wanted to help her, and because his slave or toy is gone, he went out of his way to seek revenge...
I usually do not like mystery films; not a fan of Se7en or First Silence of the Lambs. But this is how it should be done. We actually watch how the story develops, we got likable characters that actually have a soul, and we actually get footage of something going on, not just an investigation.
A utterly mediocre thriller
Wizard-825 March 2017
Warning: Spoilers
"The Rosary Murders" uses the very familiar plot of a priest getting a confession from a criminal, but because the priest is bound by the seal of the confessional, he can't inform the police about what he knows. As familiar as this plot is, it can all the same be done with intelligence and tension. But in this particular telling, the results are kind of bland. I will give the movie this - instead of being presented in an extremely hyped and breakneck pace, the movie is executed in a more calmer fashion than you might think, which is refreshing. However, in the end, the movie is somewhat TOO calm in tone. You never get a sense that lives are on the line despite the escalating body count, and Donald Sutherland's does not seem to be going through the wringer. Also, the movie at 105 minutes is much too stretched out. Much of the blame for these problems seems to lie with novelist Elmore Leonard co-writing the script. While he was a good writer, this kind of story was not what he was good at. I should point out the movie has some strengths - for one thing, it does get you curious enough to want to find out how it will be wrapped up - but all the same the movie ends up being a somewhat unsatisfying viewing experience.
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