User reviews

And now...a film for adults.

Based on Robert Harris' 2016 novel, CONCLAVE takes the viewers inside the Vatican during the College of Cardinals' process of selecting the new Pope...filled with Political in-fighting, twists, turns and surprises galore.

And...if the average age of the folks in the Movie Theater I attended a showing is any indication..."Grown-Ups" are flocking to this film.

As Directed by Edward Berger (ALL QUIET ON THE WESTERN FRONT), CONCLAVE moves along sprightly, unraveling a mystery - not a "whodunnit" but rather a "who's gonna get it" - and it gets surprisingly tense.

This is thanks, in part, to the fine, fine actors that have been cast in this film. Ralph Fiennes (Voldemort in the HARRY POTTER films) anchors the events as the "Dean" of Cardinals who is tasked with leading the disparate group of Cardinals to a consensus pick of the next Pope. He acts as much as a Detective as a Facilitator as he battles his own conscious of faith...and ambition...all while uncovering schemes and plots of some of the "humble servants" vying for the top job.

Ably assisting is John Lithgow, Isabella Rosellini and quite a few others (mostly unknown) who battle for the "pole position" in the race to be the next Pope. Special notice should be made to GREAT Stanley Tucci for his supporting turn as one of the contenders who's platform seems to be "I don't want this" but who, underneath, really, really wants it.

Don't be surprised if both Fiennes and Tucci (as well as Director Berger) are mentioned come Oscar nomination time (they are that good).

As stated above, this film has twists and turns galore and it is a fun ride to roll with these turns, but if I am being honest, I felt that this film went "one twist too far" and should have/could have ended 10 minutes before it ended (without the one last twist). Now, some would say that this final twist is the point of the film, but...I would have been fine without that point being made.

You be the judge...and join other "adults" in the movie theater.

Letter Grade: A-

8 stars (out of 10) and you can take that to the Bank(ofMarquis)

For starters without Ralph Fiennes the film would be far below average. Fiennes over his career is highly underrated in my view. He is fantastic in this role as he tries to conduct the election of the next pope. You can feel his character struggling to try to remain objective. At times he must decide when to make decisions to involve himself or cross lines in order to make sure that fair play in a sense is maintained.

I have delayed this review as I have taken time to ponder over the direction the filmmakers decided to take. In breaking it down my feelings towards it become less and less. While it is interesting while you are in the theatre you later realize that all you were watching was rumours and gossip about different cardinals. The movie is truly a one man show. You see no behind the scenes action or development of the other characters or candidates for the papacy.

The score and sound highly elevate what would otherwise be some very boring scenes.

Lastly the end just throws everything out the window. Most of the movie seems like what one might expect an election at the Vatican to go like, but the end is just terribly unrealistic and somewhat insulting to the rest of the film. It feels like Hollywood just couldn't help but insert itself and make a point where one was not needed.

This is a political thriller. With a bit of tweaking this sort of vaguely labyrinthine plotting goes on wherever there is a quest for power and control.

The main actors - Fiennes, Tucci, Lithgow, Rossellini and Msamati, deliver powerful performances, and the film is worth seeing for these alone.

The script is well written, although cliched in some parts, but does provide tension, momentum and intrigue.

The settings equally play their part and, given the scale, add gravitas and authenticity, not just a backdrop.

Having said all of that, and without giving away anything away, the ending felt added on, and didn't properly integrate with the rest of the film. Whilst the message was well intentioned, to an extent, it undermined the build up in the rest of the film - it felt simplistic and a la mode - unnecessarily. A pity, because if as much attention had been given to this part of the film as the rest, it would have been a better film.

The Conclave is a great film that is sure to keep you on the edge of your seat and holding your breath. Edward Berger's vision is perfectly executed in just about every way possible. Ralph Fiennes delivers an Oscar worthy lead performance, as he is incredible as Cardinal Lawrence. When he gives his speech and says, "There is one sin which I have come to fear above all others: certainty. If there was only certainty and no doubt, there would be no mystery. And therefore, no need for faith..." Absolute chills. The screenplay and dialogue is intelligent and well crafted, but also elevated by superb acting throughout. Stanley Tucci, John Lithgow, Sergio Castellitto, and Isabella Rossellini were all excellent in their respective roles. This film should be up for several Oscars, including Best Picture, Best Director, Best Adapted Screenplay, Best Score, Actor in a Leading Role, Best Cinematography, and more. It's just that good. The score is perfect, as it perfectly captures each defining twist and turn as the drama unfolds. The storyline is captivating, pacing is solid, and the characters are all so interesting in their own ways. Go see it!

I seen many films this year but can't think of a role played with more gravitas than Ralph Fiennes in Conclave. His performance was utterly absorbing but so was everyone else's, no one over-acted but no one failed to deliver either, stunning cast all round. I would urge you all to see it. I'd say on reflection that the novel it was based on didn't over dramatise other than the bombs and nor did the film so it was utterly realistic but that too can make a film boring as most film goers love twists and turns and to be surprised. So what this film needed was brilliant acting to elevate it to the heights and I think it delivered and will certainly watch again. Ralph I hope will get the Oscar for his mesmerising ,utterly convincing and stirring performance in this film.

I just got back from the theater after seeing "Conclave," a film I was extremely excited for and liked a lot. For most of the movie I was so captivated by the gorgeous cinematography, fantastic performances, great score, and quality costume and production design, that I was convinced this must be a 10/10 movie. But then, unfortunately, the ending arrived.

I believe that the ending to a film is the most important part. What will you leave the audience with? What is your final statement to them? Well, in this movie, it's so contrived, confusing, and absurd that any final statement becomes muddled, and I left the theater with a bad taste in my mouth. The ending is so unrealistic that it threatens to destroy every frame of what came before. It is done purely to make a statement about the church and to shock the audience. Now, this doesn't ruin the movie as a whole (not to me, anyway), but it does unfortunately mar an otherwise superb film.

Greetings again from the darkness. It feels like it's been a while since we had a good old fashioned serious-minded, tension-packed, "big" drama film featuring big movie stars. Well, that's exactly what director Edward Berger, fresh off his Oscar-winning ALL QUIET ON THE WESTERN FRONT (2022), serves up with his latest. Writer Peter Straughan (TINKER TAILOR SOLDIER SPY, 2011) has adapted the 2016 Robert Harris novel, and the result is a welcome crowd-pleaser that may garner some Oscar consideration.

Ralph Fiennes delivers what may be his best performance yet. And that's saying something for the much-respected actor who has previously excelled in such films as SCHINDLER'S LIST (1993), THE CONSTANT GARDNER (2005), IN BRUGES (2008), A BIGGER SPLASH (2018), and THE MENU (2022). His impressive career is only enhanced by this most recent role of Cardinal Lawrence, saddled with the heavy burden of facilitating the titular Conclave charged with electing the new Pope. As the film opens, the beloved Pope has just passed ... and as they say, "let the games begin". Of course, these games are all about political maneuverings and power struggles and backroom promises. Director Berger opts to show us very little of the actual negotiations, and instead puts the various iterations of loyalty on display during each successive secret (of course) vote.

Within the confined walls of Vatican City and the Sistine Chapel, Cardinal Lawrence's time is mostly spent investigating tips, scolding others for their behavior, and dealing with the immense egos of the few being considered (including himself). Stanley Tucci plays Cardinal Bellini, who pretends to not want the job while campaigning as the 'progressive' voice the church needs now. John Lithgow is Cardinal Tremblay, one of the most assertively ambitious who may or may not have purposefully undermined the work of another. Either way, Lucian Msmuati's Cardinal Adivemi is the victim of Tremblay's actions. Cardinal Tedesco, portrayed by Sergio Castellitto, is the most outspoken in his desire to return the church to the old ways (Latin masses forever!), what he sees as proper. Bryan F O'Byrne plays O'Malley, assistant to Lawrence, and yet, despite all of these men, it's Isabella Rossellini as Sister Agnes who manages to shoot (figurative) fire from her eyes, while maintaining her 'place' and significantly impacting the process. She is stunning and memorable in her limited role.

Early on, a big surprise arrives in the form of Cardinal Benitez (Carlos Diehz) of Kabul, who was the most recent appointee by the previous Pope, and unknown to the others. As a novel, this may be a real page-turner, and yet the movie never rushes from one moment to the next. Tension builds with each revelation and tarnished robe and secretive plot. Although the film barely skims the years-long sexual abuse scandal in the church, there is a stream of twists and turns that keep us on our toes as the Cardinals are sequestered. It's fascinating to see how cinematographer Stephane Fontaine keeps things visually interesting in an enclosed environment filled with characters who aren't allowed to go anywhere else. Another aspect I truly appreciated was the unusual musical score composed by Oscar winner Volker Bertelmann. This is the type of movie which often features overbearing music to 'enhance' tension, yet Bertelmann's notes are effective jabs at just the right times.

Power plays, corruption, and political stunts are all present as these Men of God bungle the process of picking their next leader. Importance of the mission and tradition pale in comparison to ego and self-interest. The symmetry to U. S. politics is unmistakable and surely a purposeful approach by Berger. The final twist may be a bit out of proverbial left field, but in a room filled with secrets, perhaps that's as it should be. To balance the tension and seriousness, anyone paying attention will appreciate the subtle humor, especially as it plays out as these relics muddle through modern day situations (technology, social progressiveness, terrorism). This is certainly not a film created for Catholics only, although for a brief moment, I worried we might have one that could be subtitled, "The Catholic Crying Game". Fortunately, it's one with a tension-filled story, terrific visual shots, a perfect score, and superb acting ... a fun movie to watch.

Opening in theaters on October 25, 2024.

The film moves along slowly but we'll written. The Cardinals meet after the death of the Pope for a Conclave to choose a new Pope. Characters are introduced and "sililoqueys" of a sort give us insight into each character's political position and motivation in his pursuit of the Papacy. Slowly revelations demolish the chances of the main candidates, one by one. Giving us insight into the positions of factions within the Church.

Then, if you paid any attention you already know who will be chosen. But there is the final revelation, which imho is ludicrous. All in all very well acted, controlled and photographed. Detailed. I gave this film 7-8. All the actors are on key and up to the script.

The movie is a very interesting look behind the scenes of choosing a new pope, delving deeply into all the pomp and circumstance. It plays out similar to a murder mystery, with all the potential "suspects" being eliminated from the choice. It should have ended with the white smoke pouring out while the crowds cheered and Cardinal Lawrence looked up to the sky... job well done. But no, they had to insert a completely irrelevant, fantastical twist for who knows why (Did M. Night Shyamalan stop by the set?). Go see for the great acting and imagery. Hopefully a Director's Cut will edit out that contrived twist. (p.s. Show the white smoke! That's what we were all waiting for.)

Director Edward Berger, known for his sharp storytelling, has delivered a cinematic gem with "Conclave," a film that transcends the boundaries of the typical thriller to delve deep into the heart of the Roman Catholic Church. Based on Robert Harris's novel, this adaptation is not merely a translation from page to screen but a reimagining that breathes new life into the already rich narrative.

Plot and Execution: The film follows Cardinal Thomas Lawrence, impeccably portrayed by Ralph Fiennes, as he navigates the labyrinthine politics of papal election within the Vatican's ancient walls. Berger meticulously crafts an atmosphere of suspense where every whispered conversation, every secretive glance, is charged with the gravity of the election's outcome. The plot unfolds with the precision of a Swiss watch, each tick and tock echoing the heartbeat of the Church itself.

Performances: Ralph Fiennes anchors the film with a performance that is both understated and powerful. His portrayal of Cardinal Lawrence is a study in restraint, where every subtle expression conveys the weight of his character's internal and external conflicts. Supporting him, John Lithgow as Cardinal Tremblay offers a masterclass in villainy, weaving charm with cunning so seamlessly that it's impossible not to be captivated by his machinations.

Themes and Symbolism: "Conclave" isn't just about the election of a Pope; it's a microcosm of power, tradition versus modernity, and the human condition. The film tackles these themes with a deft hand, never preaching but always prompting thought. The climax, with its revelation regarding Cardinal Benitez, serves not just as a plot twist but as a profound commentary on identity, acceptance, and the evolving face of global religion.

Cinematography and Score: The visual language of "Conclave" deserves special mention. The confined spaces of the Vatican are shot with a claustrophobic intimacy that mirrors the internal struggles of the characters. The score, haunting and evocative, enhances the sense of isolation and high stakes, complementing the imagery to create a nearly tactile experience of the conclave's tension.

Conclusion: "Conclave" is a tour de force of filmmaking. It's a film that entertains, provokes, and lingers in the mind long after the credits roll. Berger, along with his cast and crew, have not only adapted a book into a film but have elevated it into a critique on power, faith, and human nature. For those who appreciate films that challenge as much as they entertain, "Conclave" is a must-watch, deserving every bit of its 9 out of 10 stars. It's not just a film; it's an experience that invites you into the heart of one of the world's most secretive institutions and leaves you questioning, pondering, and ultimately, admiring the artistry on display.

This is perhaps the best film I've seen this year and I've seen quite a few. This is a serious film, perhaps the only serious film that I've seen thsi year and it can be considered adult fare as many of the many details in this film will not be caught by a younger crowd. There were only adults in the matinee on opening day and this was the best attended matinee that I've been to so far this year. The film has great color, details, sets, writing, and plot with several plot twists thrown in for good measure. I don't really consider it to be a mystery as I had the plot figured out early on, but it is presented in a very good fashion. It features a great cast and some really good acting. All in all a great film and I'm considering seeing it again.

Acting, intrigue, dialogue and cinematography are spot on throughout but the warning signs are there earlier in the movie. When the potential candidates talk about being a new liberal progressive church, it makes you wonder where else there going to go with it and boy do they go with it.

I let the odd tone shift go but the ending, which I won't spoil, that comes out of a different movie and causes the lead to go against everything they shoot for during the movie.

It seems like a slightly less expected political thriller over what is a big event in the world as and when it happens but then shifts like rollercoaster in the final scenes.

Disclaimer - I am Catholic and yes as many say and note, the finish is a genuine 24 karat surprise but I'm not revealing anything here but there are many stories to be told in the story that remain locked up in the labyrinth of the Vatican. About 80 of them. Fiennes and Tucchi of course are masters at the top of their game and it shows. The thrills and games keep coming. The production gorgeous. Latin alive in a conversation? OMG! My point is though that there are ~ 80 cardinals from everywhere on our planet, only a handful are the focus and the others are shall I say, a matter of background. I would have enjoyed some varied sideline conversations. The nuns/sisters of course are one and I happily accept that. But goodness, this calls for ordering the book.

The death of a pope and the subsequent election of a new one is an event that the Catholic world follows with great interest. As a period of mourning for the deceased pope is observed, the suspense builds and a worldwide audience learns the names and nationalities of the main contenders. This movie shows the protocols that follow the death of a pope and takes the viewer inside the walls of the Vatican as we see the various contenders. Ralph Fiennes is superb as Cardinal Lawrence, the Dean of the College of Cardinals, the church prelate who organizes and manages the conclave. Stanley Tucci as Cardinal Bellini is the liberal favourite while Sergio Castellito is Cardinal Tedesco, the conservative alternative. Other contenders rise and fall. There is tension and infighting that highlights the rivalry because the stakes are so high. The outside world never knows what form the discussions take or the possible conflicts because the process is highly secretive. This movie lends drama to what could happen during the course of the conclave. Some conclaves are over in a short period of time; others take longer to play out. In this movie, the voting reaches a stalemate followed by a surprise and then another. We see how the Vatican and the world are not at odds but are interwoven. As an observer of these conclaves, I was drawn to the character of Cardinal Lawrence and how he had to navigate the challenges and limitations of his role. A fine movie and a great performance by Ralph Fiennes. The ending seems a pleasant surprise and is followed by another surprise that is just a step too far and detracts from an otherwise great drama.

It's more than a little frustrating when a film seemingly has all of the elements needed to make it work except the one that's most crucial, the one that enables a production to brilliantly succeed or doom it to failure - the story. Such is the case with director Edward Berger's latest, the much-anticipated, much-celebrated drama about the convening of a papal conclave to select a new pope. From a technical standpoint, the filmmaker has pulled together everything that should make this an epic picture - a gorgeous production design, stunning and inventive cinematography, and a stellar cast featuring superb performances by the likes of Ralph Fiennes, Stanley Tucci, John Lithgow and Isabella Rossellini, as well as fine turns by such lesser-known performers (at least to American audiences) as Lucian Msamati and Sergio Castellito. The picture also raises some insightful observations (though a little too infrequently for my tastes) about the current state of the Roman Catholic Church, particularly its foot-dragging on implementing reforms, the incessant high-profile scandals that have rocked the institution, and the rising tide of unflattering public perceptions among its increasingly skeptical practitioners, all of which weigh heavily on the College of Cardinals in determining who should be named as the new Holy Father. Unfortunately, though, the story and script leave a lot to be desired. For starters, much of the film's opening act moves by at a glacial pace, frequently causing one's eyelids to become more than a little heavy. As the picture moves into the meat of the story - the conclave itself - it waxes somewhat melodramatic, not unlike a glorified 1980s prime time TV soap opera. Its attempt to come across as an intrigue-laced thriller amounts to more than a succession of backstabbing segments in which the leading candidates to become the next pontiff are systematically eliminated through the revelation of skeletons in their respective closets. Finally, as the movie enters the stretch run, it throws in several twists and turns that either come completely out of left field (and somewhat implausibly at that) or that predictably materialize on cue thanks to the planting of patently obvious clues early on that were wholly impossible to ignore as the story plays out. Regrettably, these narrative foibles undermine all of the other fine attributes that this production has going for it, ultimately amounting to a case of being long on style but a little skimpy on substance, a shortcoming that also plagued Berger's last feature outing, "All Quiet on the Western Front" (2022). Unlike many others who have been so profoundly moved and thoroughly captivated by this release, perhaps my not having been born and raised Roman Catholic has somehow prevented me from fully appreciating the depth and magnitude accorded to this offering's contents. But, as someone who seeks to evaluate everything I screen on an equal footing, I can't help but observe that "Conclave" simply doesn't measure up when it comes to what it takes to make a genuine big screen epic.

I'm being very serious when I say the first 2/3 of this film is perhaps some of the greatest dramas I've seen in theaters in my life. The writing was so superb, it was a perfectly orchestrated web of tension. In an age where every theatrical release seems to be stacked with a some 500 million dollar budget, explosions action horror and the likes to keep its audience engaged... this was SERIOUSLY refreshing. Just dang good dialogue, set designs, DP work and score to carry this film into a mesmerizing suspenseful bliss.

This I speak to the first 2/3 of the film. I was ready to give this film 9/10 stars. But I'm afraid the story lost its way in the its last leg... for such a perfectly woven web, such a suspenseful mysterious slow burn build up; you NEED some sort of satisfying pay off at the end. The end and its surrounding parts did not leave me satisfied at all. It left me scratching my head... it makes you think. But the kind of thinking where your face may be contorted in a state of confusion when the credits roll. Not satisfaction.

Overall this is a great film that makes you think and a part of me wants to give it a higher score because it genuinely was SUCH a strong film (most of the time). But a films ending means a lot.

Conclave is a fine movie with excellent performances by all the actors involved. The ending of the film was telegraphed early on, so there was not so much of a surprise by the final selection of the next Pope. However, the final twist seemed unnecessary. There did not seem to be a sufficient build-up to it, that made it feel like a genuine twist, but was more of an add-on. Beyond that, the drama between all the main candidates was compelling, though I thought the conservative Italian was more of a caricature for them to use as a foil, rather than a standout on his own. There are some interesting visuals and uses of color that I did not expect. I'm sure this will be an Oscar contender, but I'm not sure it has the depth to actually win anything.

There is very little "action" here. It's slow and methodical am riddled with secrets. Everybody has an agenda, well almost everyone. Blind ambition willing to take down a rival through embarrassment and win through Simony. Others with false modesty given away when voting begins, and others through shear zealotry. The twists (like a mystery) come as secrets are revealed and agendas are exposed. The final outcome might be discerned by the most perceptive of viewers, knowing how these sorts of narrative go. And they would most likely be wrong. The final twist is less shocking than it is thoughtful and profound.

Excellent performances abound. Stanley Tucci feels a little like Nigel in a tunic and miter. But Ralph Finnes and Isabella Rosalini truly stand out. Rosalini's curtsey at the end of an impassioned speech is in and of itself worthy of an Oscar nomination. There are also some incredible and surprising visual tableaux, like an aerial shot of 100 plus cardinals moving towards the conclave in the rain beneath pure white umbrellas.

Definitely worth the price of. Ticket and two hours of your time.

Lies. Deception. Manipulation. Strategy. A game of chess on a global scale. Every move calculated, every alliance scrutinized. A complex and riveting contest of strategy and influence. Edward Berger takes a process as intimate and holy as the conclave and turns it into something thrilling that echoes the scheming, backstabbing nature and intrigue of Game of Thrones and Succession while also feeling strikingly relevant. Conclave is a meticulously constructed behind-closed-doors thriller where religion and politics clash and the souls of petty men are tested for a chance at supreme power.

Conclave is a film about choosing the least objectionable candidate to prevent undoing decades of progress. Hmm... sounds familiar. Not to get too political, but there is a reason this film was released when it was, and the overall challenging messages presented in the film could not be more relevant to the current political climate in not only the US but many other countries in the world.

I'm seeing a lot of enjoyably quippy Letterboxd/social media reviews saying that this is a funny movie about priests gossiping ("What if an episode of Gossip Girl took place entirely at the Vatican????"), and that isn't untrue-but it also neglects to mention that it's a very earnest and profoundly soul-stirring picture about the tension of faith, the desperate search for certainty, and the true purpose of the church in the world. This is the kind of well-staged "men in rooms" drama that feels like it could've been made in the 1940s, or the 90s. Imagine an Aaron Sorkin film (The Social Network, Moneyball, A Few Good Men) in the Catholic Church. That is Conclave.

The ensemble is outstanding with Ralph Fiennes delivering a performance that is as nuanced as it is commandingly powerful. The taut atmosphere is amplified by a pulse-pounding score, and immersive sound design, though moments of over-the-top levity occasionally breaks the tension, adding an unexpected layer of entertainment to this riveting high-stakes election. It's one of the most riveting, immaculately crafted films of the year - a masterclass in classic Hollywood filmmaking brilliantly directed by Edward Berger who most recently made All Quiet on the Western Front.

There's this "rule" in film editing: don't show the door closing; just cut to the other side. It's meant to be a reminder to avoid unnecessary or mundane sequences. Conclave ignores that entirely. Characters pause, and shuffle around between lines, as their sneakers squeak on Italian marble. They actually eat and swallow food without cuts, and stop in the middle of important dialogue just to make a Nespresso in real time. People are calling this a thriller (and I agree), but it's also a Vatican hangout movie. I couldn't care less about the subject matter, yet I haven't felt this engrossed in a film in a while. It's all the "fluff" that Berger includes that made everything really work for me. It has so much rich texture. One of the best of the year - and it's because you see the doors close.

This is the kind of awards season crowd pleaser that really hits all of the right buttons. Excellent performances across the board. Narrative twists that both make sense and completely subvert expectations for a film surrounding Catholicism. Visually stunning. It's a blast.

I also enjoyed it because it's a very (very very) progressive film dressed in the most conservative package imaginable. Very of this moment. I think Conclave has one of the most profoundly soul-stirring and theologically provocative endings of any movie I've seen in a while. It's no wonder that lots of people in the typical target audience for films like this are baffled by it. But I loved it so much.

Conclave is an incredibly entertaining thriller that peels back the many layers of selecting a new Pope and is anything but boring. A compelling, relevant watch about the state of leadership and elections in our modern world.

Succession is my favourite show, and here I got a whole movie of it just set in the Vatican! Brilliance.