Holland, Bernthal deliver solid performances in Pligrimage
By LEE CLARK ZUMPE, Tampa Bay Newspapers

Article published on Monday, Aug. 7, 2017


Quiz: Name a film about a mystical relic. The go-to answer for most is probably “Raiders of the Lost Ark.” Others that come to mind include “Constantine,” “The Da Vinci Code” and anything involving the Holy Grail.

Add to this niche subgenre of movies “Pilgrimage,” a new film from RLJ Entertainment opening Aug. 11 in select theaters, on VOD and Digital HD. Locally, “Pilgrimage” will be screened at AMC Sundial, 151 Second Ave. N., St. Petersburg.

Make no mistake, though: “Pilgrimage” isn’t thematically analogous to Steven Spielberg’s Indian Jones franchise. Instead of the swashbuckling exploits of a beloved archeologist adventurer, this story focuses on weighty concepts such as the dangers of religious fanaticism and the obstacles to achieving peace. It is impassioned in its critique of organized religion. Its scenes of violence and bloodshed are unapologetically graphic and alarmingly convincing.

Set in Ireland in 1209, a small group of monks are forced to begin a pilgrimage across a landscape torn between centuries of tribal warfare and the growing power of Norman invaders. Their task is to escort their monastery’s holiest relic to Rome. It is believed the relic possesses mystical powers that will aid Crusaders in their campaign to retake Jerusalem.

Directed by Brendan Muldowney, “Pilgrimage” begins as a hero’s journey. The story is seen mainly from the perspective of Diarmuid, a young novice who has spent his entire life living amongst other monks in the remote community of Kilmannan on the western coast of Ireland.

The arrival of an envoy from the Vatican provides the catalyst: The Pope seeks to weaponize the holy relic to smite Rome’s enemies. The disparity between Diarmuid’s innocence and the toxic extremist zeal of the Vatican’s fanatical envoy becomes increasingly evident as the story unfolds.

Tom Holland – who starred as the title character in this summer’s blockbuster “Spider-Man: Homecoming” – takes on the role of Brother Diarmuid in “Pilgrimage.” As the novice, Holland’s character shares some of Peter Parker’s naivety and purity. His performance here, though, is more refined and sensitive than one could expect to see in most superhero films. Holland’s portrayal of Diarmuid is impassioned and poignant.

Accompanying those participating in the mission is The Mute, a mysterious man who came to live at Kilmannan offering his services to the monks. Jon Bernthal’s performance is extraordinary. He manages to convincingly convey the character’s range of emotions – from the world-weary warrior desperately seeking peace and redemption to reluctant protector and, finally, resentful soldier.

Like the others, his path is manipulated by the envoy from Rome, Brother Geraldus, The Cistercian. Stanley Weber is tasked with portraying this calculating and controlling individual. Weber skillfully paints a civilized façade for Geraldus early in the film. Slowly, he peels back the layers to reveal the character’s true nature.

Also starring in “Pilgrimage” are John Lynch as Brother Ciaran, Richard Armitage as Raymond De Merville and Hugh O’Conor as Brother Cathal.

Set against the brooding backdrop so beautifully rendered by cinematographer Tom Comerford, “Pilgrimage” offers a harsh assessment of organized religion and of humanity in general. While its historical setting – which is depicted compellingly and in astonishing detail – may make it a period piece, its themes of power and religion are clearly relevant in the modern world. One need look no farther than newspaper headlines or scroll bars on cable news to find evidence of religion being exploited and corrupted.

In one scene, Diarmuid asks Brother Ciaran, the Herbalist, if there has ever been peace. The senior monk tells the young novice that there has never been peace, anywhere in the world – and that some believe that is the natural order.

“Peace needs to grow,” Brother Ciaran says. He adds that it must be cared for and nurtured. “This is beyond the reach of most men.”

Muldowney’s “Pilgrimage,” though devastatingly bleak and bloody, does show our true potential for benevolence through acts of kindness, charity and mercy.

Wednesday, August 9th, 2017

Pilgrimage
Studio: RLJ Entertainment
Directed by Brendan Muldowney

Aug 08, 2017 By Austin Trunick Issue #61 -

When the Pope calls for a sacred rock said to have killed a Christian martyr and possess supernatural powers which will help his cause in the coming Crusades, it’s up to a ragtag band of brothers—in the monk-ly sense—to transport it from their home on the Irish coast, through a Europe populated with pagans, raiders, and other infidels who would rather see them killed than make it to Rome.

Spider-Man (Tom Holland) and The Punisher (Jon Bernthal) are monks on a mission in this unexpectedly gritty thriller. With violence a looming threat at every step of their journey, Pilgrimage is real nail-biter. (Without giving too much away, there’s an ambush—where chaos erupts and arrows and rock whiz past our heroes’ heads—that is as anxiety-inducing as the opening to Saving Private Ryan.) At just over 90 minutes, this is far more an edge-of-your-seat genre flick than the moody period piece it may look like from far. We’ll call this one a medieval Mad Max.

Author rating: 7.5/10

FIRST LOOK: ‘Pilgrimage’ – Tom Holland, Richard Armitage, Jon Bernthal, Stanley Weber, John Lynch & Hugh O’Conor
9th August 2017NWD

Tom Holland eventually gets down from his Spider-Webbing days to play Brother Diarmuid is medieval action drama 'Pilgrimage' that is set to be released on Amazon Prime.


'Pilgrimage' sets us back to 13th Century in Ireland, where a group of monks must safely escort a relic. This medieval movie wouldn't be a must-watch if it wasn't without Richard Armitage who will be in past television series such as 'Castlevania' and films 'Mr Zoe', and 'Claude Fight'. The film, by XYZ and heavily supported by the Irish Film Board, should be a catch for fans who loved Leonardo Di Caprio's 'Revenant' or if we had to bring it closer to home, the hit show 'Games of Thrones.'

'Pilgrimage': Film Review

10:20 AM PDT 8/9/2017 by Frank Scheck

8/11/2017


Tom Holland fans shouldn’t expect the new Spider-Man to make any lighthearted quips in his latest film, in which he plays a taciturn Irish monk. A tale about a group of 13th century monks attempting to transport a holy relic to Rome at the behest of the pope, Pilgrimage alternates long stretches of tedium with ultra-violent sequences that have the feel of medieval torture porn. Its dialogue may be rendered in languages including Gaelic, French and English, but it doesn’t much matter when it features lines on the order of “No one but the pure of heart can touch the relic and live.”

The young British actor plays Brother Diarmuid, a novice monk living in a remote monastery that receives a papal envoy led by the Cistercian Brother Geraldus (Stanley Weber). He informs them that the Church requires the holy relic they’ve long had in their possession, one that was apparently used in the stoning of a Catholic martyr. Cue a treacherous road trip, as the monks are enlisted to accompany the papal emissary back to Rome to help defend the treasure from various groups of pagan infidels.

Besides the young and innocent Diarmuid, the ragtag group includes Brother Ciaran (John Lynch), a wise senior monk who remains dubious about the mission, and “The Mute” (Jon Bernthal), who was found years earlier washed up on the shore and taken under the monastery’s wing. Fortunately for them, the Mute’s stoic demeanor and vow of silence doesn’t mean that he’s lost the fierce fighting skills that got him through the Crusades.

Eventually joining the group is a band of Norman soldiers whose leader (Richard Armitage) agrees to protect the monks throughout their arduous journey. But his true motivations are far more nefarious.

Director Brendan Muldowney strains hard to create a suitably somber medieval atmosphere, such as so rigorously draining the film of color that one struggles to remember that Ireland is known for being green. The relentlessly monochromatic palette quickly proves wearisome, as does the stilted language, the unsubtle characterizations and the musical score depending heavily on Gregorian chants. (What, you were expecting Coldplay?)

Holland displays little of the charisma here that he exhibited in Spider-Man: Homecoming, although, to be fair, his costume here isn’t nearly as fun. And while veteran actors Weber and Lynch make strong impressions, it’s Bernthal who steals the film with his intense, nearly wordless performance (even those who’ve taken a vow of silence will utter a word under the right violent circumstances) that makes his badass characters on The Walking Dead and Daredevil seem wimps by comparison. With his buff physicality and commanding presence filling the screen throughout the frequently sluggish proceedings, he almost single-handedly makes Pilgrimage a cinematic journey worth taking.

Production companies: Savage Productions, Wrong Men North, XYZ Films
Distributor: RLJ Entertainment
Cast: Tom Holland, Jon Bernthal, Richard Armitage, Stanley Weber, John Lynch
Director: Brendan Muldowney
Screenwriter: Jamie Hannigan
Producers: Conor Barry, John Keville, Benoit Roland
Executive producers: Geir Henning Eikeland, Rory Gilmartin, Stig Hjerkinn Haug, Kjetil Omberg, Nick Spicer
Director of photography: Tom Comerford
Production designer: Owen Power
Editor: Mairead McIvor
Costume designer: Leonie Prednergast
Composer: Stephen McKeon
Casting: Daniel Hubbard

96 minutes

Review: 'Pilgrimage', Tom Holland & Jon Bernthal Go On A Bloody Crusade
By Travis Hopson8/09/20170 Comments

Probably the last place you expected to see Marvel-ites Tom Holland (Spider-Man: Homecoming) and Jon Bernthal (The Punisher) next was in a bleak, brooding Middle Ages drama like Pilgrimage. There aren't any super powers or colorful costumes here...in fact, there are hardly any colors at all except for dark red blood spilled by penitent holy men in protection of ancient relics they have put all of their faith into. Pilgrimage is, at its core, a road trip movie where the road is muck and the only vehicles are the worn sandals of devoted monks.

Pilgrimage is one of those movies, set in the 13th-century when relics and totems meant religious power. The Crusades are happening everywhere, and a small band of monks and young boys protect a supposedly powerful relic from the surrounding armies of the Vikings and Normans. They have sworn their lives to defending this object, but when the Cistercian (Stanley Weber) arrives with a papal decree to deliver the relic, these devout men must brave the treacherous road to do so, despite their misgivings.

Good luck with that. Infidels surround them at every turn, and getting out of Ireland with the relic will require an act of God. Suddenly, their faith is just the tiniest bit shaken, and in creeps the paranoia of superstition, the curse of disloyalty. Sent along on this mission is The Novice (Holland), picked because he has seen nothing of the outside world. He is an innocent, and this journey will see him grow into a man through blood and tears. Alongside him is the mysterious, enigmatic man simply called The Mute (Bernthal), who might have the name of a supervillain but is made of sterner stuff. Or is he? That's really the mystery, isn't it? Clearly the man is hiding something.

Because the relic itself is just one giant MacGuffin, there to test the monks' devotion as they brave haunted forests, warring tribes, and betrayal. Long-held cultural institutions battle against deeply-held religious convictions in writer Jamie Hannigan's lean script, brought to murky but efficient life by director Brendan Muldowney. For me, it was a breath of fresh air that Hannigan's screenplay focused more on the various relationships within the order than on the tenets of their faith. The relic can only be touched by one who is "pure of heart", but can any of their number claim to be so? There are treacheries from within, and vengeful knights on the hunt (the main culprit played by The Hobbit's Richard Armitage), but nothing quite so dangerous as a lack of conviction on a quest to deliver hope.

Any movie set in the Middle Ages worth its salt will be graphic and gory, and Pilgrimage fits the bill. Blood and mud become indistinguishable as the violence mounts closer to the end game, and it's genuinely thrilling because the monks aren't fighters. Peace and love is their thing. Can't say the same for The Mute, though...

Speaking of which, Bernthal may not utter a word here but he has never been this intense, this bottled up with guilt and rage. The man is a presence. Holland gives another strong non-Marvel performance this year (the other was in The Lost City of Z), capturing The Novices innocence, earnestness, and evolving maturity.

Despite the fan-favorite casting, Pilgrimage isn't the kind of movie that generally attracts large crowds. But those who check it out to see what else Bernthal and Holland are up to can have faith that their time will be rewarded.

Rating: 3.5 out of 5

Welch ein Glück für 'Pilgrimage', dass Bernthal und vor allem Tom Holland dabei sind, sonst hätte dieser Film niemals diese Aufmerksamkeit bekommen.

ENTERTAINMENT MOVIES
Review Medieval action film ‘Pilgrimage’ is beautifully shot, powerfully violent

Katie Walsh

Faith and fear collide in the medieval action film “Pilgrimage.” For all its bloody and violent genre trappings, “Pilgrimage” — directed by Brendan Muldowney and written by Jamie Hannigan — is a gorgeously shot film that carefully renders the details of this fascinating historical period.

The year is 1209 and a group of Irish monks are tasked with escorting a precious religious relic from their monastery on the Western coast of the island to Rome, under pressure from an emissary of the Pope, Brother Geraldus (Stanley Weber). The relic is believed to possess great power to turn the tide of the Crusades in Jerusalem, and has been a great danger for anyone who dares disturb it.

It comes down to a young novice, Diarmuid (Tom Holland) and a scarred, tattooed mute (Jon Bernthal) who has dedicated his life to serving the monks, to protect their cargo. The mute’s violent past comes rushing back when the monks find themselves fighting for their lives as Norman soldiers, including a skeptical Sir Raymond (Richard Armitage), clash with painted tribal warriors for possession of the relic.

Shot in Connemara — a remote region of western Ireland — by cinematographer Tom Comerford, the coastal landscape is stunningly beautiful. Robed silhouettes make their way through woods and against the sea; sunlight filters through the trees, illuminating the generous blood spatter produced by broadswords, arrows and axes.

Weber’s wild-eyed performance as the fervent and fanatical Geraldus drives home the questionable influence of this relic. Though its powers are merely symbolic, ascribed to it by men, human fear of and faith in this artifact is enough to enact its deadly toll.


------------

‘Pilgrimage’

In English, Gaelic, French and Latin, with English subtitles.

Not rated

Running time: 1 hour, 36 minutes

Playing: Laemmle Monica

Richard Armitage@RCArmitage

PILGRIMAGE Review: Faith is a Weapon in Brendan Muldowney's Period Adventure Drama http://screenanarchy.com/amp/2017/08/pi ... drama.html …

Review: In Brendan Muldowney's PILGRIMAGE, Faith Is a Weapon

August 11 2017, 1:00 PM

13th century Ireland is an island divided by war and fraught with peril as close as the next turn. An isolated group of Benedictine monks are the keepers of a holy relic when the church in Rome calls upon them to deliver it. Led by the zealous Cistercian monk, Brother Gerladus, under the protection of their Norman escorts led by Raymond De Merville, and God, the monks head into unknown dangers.

Included in the small troupe is novice monk Brother Diarmuid (Tom Holland), an innocent young man who has never left the commune. Jon Bernthal’s The Mute is asked by the abbot to go along and escort the relic but moreso protect the young Brother Diarmuid. He could be up to the task; his body is scarred, presumably from a scrap or five. His past remains a secret though some of De Merville’s men believe they recognize him. His past will come to the forefront when the group is first attacked by a group of Gaels.

There are two main action sequences and the violence is brutal and gory. Mostly the action gets lost within the action and the framing but Brendan Muldowney does pause to focus on key moments of physical destruction equally amazing and horrific. A moment of torture midway through the film is equally disturbing and graphic.

Pilgrimage stands as a condemnation of people using faith and religion to pressure or influence others. The relic stands a physical manifestation of the Christian faith and anyone who possesses it would be able to influence everyone around them to their will. The Church wants to use it to bring about victory over the Muslims occupants of Jerusalem. Those who want to steal it from the monks want to use it to hold power where their kingdoms lie as well.

But it is not just the relic that holds power over the characters in the story. Their faith is used against them as well. Brother Geraldus spouts Liturgical Christianese as often as he breathes, to the point of nauseum. Whenever any of the group are in peril he reminds everyone that they will receive God’s glory in Heaven for their sacrifices, saying it so much that it almost becomes indistinguishable noise. Whatever it takes to get the relic to Rome, then to Jerusalem, sacrifices must be made to complete their mission. It is God’s will after all. Note also that it is his mission to get the relic to Rome by any means possible, except when it comes to putting his own life on the line.

Reactions to Pilgrimage are going to vary. Those looking for a straight out action adventure film may be disappointed in the minimal amount of action and tension in the chase. This is not a straight all out medieval chase film like say, Neil Marshall’s Centurion. The action and violence is very strong and gory but some may find it lacking is all. Because the story here is more about this group of monks and their reactions to the dangers around them and the testing of their faith, internally and externally, likely a viewer’s association or experiences with any belief system may have more impact on the viewing experience.

It reminds me of the varied reactions to the original French horror film Martyrs, in that anyone who grew up in the church and studied the martyrdom of Christian believers had a different reaction to that film than someone without that understanding. Not that theirs was any less of a valid reaction to the film. Our knowledge of those events shaped our reaction to the second half of that film. The same can be said for Pilgrimage. Anyone who has even been a part of the Christian faith is going to have a different response to Geraldus’ spontaneous and frequent sermons.

There is a modern day relevance to the story in Pilgrimage, of art imitating life, this story of using one’s faith as a weapon against another culture or religion. Had I watched this a few days earlier it may not have fallen in right after the day an evangelical adviser to the megalomaniac in the U.S. said that their god has given this person "full control" to take out the leader of North Korea. It also made me think about a video I watched from a couple of years ago where the president of one of the largest Christian universities in America (the son of an equally belligerent televangelist) urged his students to carry concealed weapons on campus in order to “end those Muslims” who could attack the campus. These are prominent Western Christian leaders either encouraging violence against a people and culture or a religion and that it is their god’s will that it happen.

But then all of human history is layered with ‘god is on our side’ confrontations.

Pilgrimage is now in select U.S. theaters then on VOD and Digital HD on August 11, 2017.

Review: In the Ireland of ‘Pilgrimage,’ Grays, Not Greens, and Death
Pilgrimage

Directed by Brendan Muldowney Adventure, Drama 1h 36m

By KEN JAWOROWSKIAUG. 10, 2017


“Pilgrimage” is a gutsy movie, and not just because a character gets his entrails ripped out. Here the filmmakers take a chance and turn a strange-seeming premise into a fast-moving tale.

The bulk of the story is set in Ireland in 1209, where a group of monks safeguards a holy relic. A visitor, Geraldus (Stanley Weber), arrives with papal orders to bring this MacGuffin to Rome. Four of the monks and a secretive mute (Jon Bernthal, sullen and entrancing) are assigned to shepherd Geraldus and the relic across the country.


This Ireland isn’t the land of Guinness, and green is in short supply; most scenes here are steeped in shades of gray, matching the film’s forbidding mood. Enemies soon arrive to steal the relic, and the chases begin.

The youngest monk, Diarmuid (Tom Holland, in a robe instead of the tights he wears as the new Spider-Man), is reliably good-hearted, the better to contrast with Raymond (Richard Armitage), one of the brutal bad guys. John Lynch, Ruaidhri Conroy and Hugh O’Conor, all convincing, play the other three monks.

Brendan Muldowney, the director, and Jamie Hannigan, the screenwriter, keep something happening in each scene; the pace is swift, except for shots of misty hills and shadowy forests that are lingered over as the ominous score moans. The main battle is an exercise in Grand Guignol, with swords, arrows and axes impaling faces and severing limbs.

Amid that gore (including a harsh stoning — not that there’s any other kind — and an exciting yet vicious conclusion), “Pilgrimage” raises a question or two about unexamined beliefs and religious zeal. Those questions, as well as all that blood, won’t appeal to everyone. But those who can stomach them will receive some dark rewards.
Pilgrimage

Director Brendan Muldowney

Writer Jamie Hannigan

Stars Tom Holland, Richard Armitage, Jon Bernthal, Nikos Karathanos, Akilas Karazisis

Running Time 1h 36m

Genres Adventure, Drama
Movie data powered by IMDb.com
Last updated: Aug 12, 2017

Pilgrimage (2017) Review

Posted August 12, 2017 by Eoin Friel in Drama

Rating
OUR SCORE
4/ 5

Genre: Drama, Thriller

Director: Brendan Muldowney

MPAA Rating: R

Actor: Jon Bernthal, Richard Armitage, Tom Holland

Pros:Excellent performance, bloody action scenes and a beautiful score.

Cons:It's a little too short and doesn't delve into the deeper themes it could have.

Verdict
Pilgrimage is a triumph in terms of indie film-making with the cast giving their all, brutal action scenes and a tight pace that will guarantee I’ll happily join this quest again for future viewings.

by Eoin Friel
FULL ARTICLE
Plot: In the 13th century, Irish monks embark on a reluctant pilgrimage to escort their monastery’s holiest relic to Rome. Their mission soon becomes fraught with danger as they trek across a rugged landscape that’s been ravaged by years of tribal warfare.

Review: Before watching it you’d be forgiven for thinking Pilgrimage was a talky religious drama but there is actually a ton of action and some brutal fights with limbs being hacked off and intestines literally being torn out. It is never dull but still remains a serious movie with an interesting story and first rate performance by the cast.

Tom Holland is a revelation as Brother Diarmuid and one of the reasons he’s so good is how he mastered speaking Irish Gaelic which is no easy task. Diarmund has an almost “deer in the headlights” look throughout and when he embarks on a quest to take a mysterious artifact to Rome they underestimate just how dangerous a task it will be.

With treachery coming from every side you aren’t sure who to trust but the one person you know is truly good is Diarmund. Actually, if they were to make LOTR now I would totally cast Tom Holland as Frodo as he would have nailed it. Anyway, Diarmund is the moral compass of the tale and he has tough choices to make when enemies try to take the relic from he and his comrades.

Richard Armitage is clearly having fun as the scene stealing French villain called Raymond De Merville who is immediately threatening as soon as he comes on screen. His accent is pretty spot on too proving that he remains one of the more underrated actors working today.

John Bernthal is everywhere right now and that’s just fine by me as he has immense screen presence even when playing a mute who protects the monks during their pilgrimage.

The film is beautifully shot with a sublime score featuring Gregorian chants so it all sounds very religious and helps to transport you to another age. It was certainly a more brutal age with danger lurking around every corner and people were at their most savage.

If you’re looking for deep philosophical debates then there isn’t all that much as the pace never really lets up to give our characters time to breathe. If anything the film was a little too short and I would have happily stuck with it an extra half hour at least.

13th Century Story Gets 21st Century Treatment in ‘Pilgrimage’

by Warren Cantrell on August 11, 2017

[Rating: Solid Rock Fist Up]

A religious relic road-trip flick that sports an action-minded underbelly, Pilgrimage does a fine job side-stepping expectations and never fails to keep its feet pointed in the right direction. It’s out today in theaters, on VOD and Digital HD.

Washed of almost all color, and set beneath a sky that seems unfamiliar with the concept of a sun, the gloomy, Gregorian chant-scored film manages to inject some 21st century life into a 13th century story. And while the build-up is somewhat slow, the eventual payoff exceeds expectations, due in large part to the work put in by the leads and a clever script that knows a thing or two about subtext.

Set in 1209 A.D. Ireland, Pilgrimage follows a group of Catholic monks who are tasked with delivering a sacred relic through the Celt-infested forests surrounding their monastery. The stooge that the Vatican sends to oversee this mission, Brother Geraldus (Stanley Weber), tells the monks watching over the holy relic that the Pope needs the object’s divine power to inspire yet another Crusade. Geraldus is confident that their Lord’s protection is all the help they’ll need to make it safely off the island, yet the monks living in the area know better. They send a handful of brothers to assist in the journey, along with “The Mute” (Jon Bernthal), an adopted castaway that works for the monks and is as mysterious as he is strong.

One of the monks along for the journey is a young man named Brother Diarmuid (Tom Holland), who has never ventured outside of the monastery, and is sent to get a taste of the outside world. Not long into their trek, the monks link up with a kindly lord loyal to England’s King Richard, who assigns his adult son and a group of knights to accompany and protect the holy coterie. Trouble looms on the horizon, however, and despite their guards, the monks come under attack and must flee with their prized relic. From here, Pilgrimage transforms into a boilerplate 90s chase movie, a-la Judgment Night, Hard Rain, Terminator 2, etc., which might sound jarring…except that it actually, weirdly works.

Bernthal’s mute stranger with a past reveals himself to be a Rambo-level killer in a pinch, which acts as a great foil to the movie’s big-bad as played by Richard Armitage. To be fair, it’s all a little silly, which almost seems to be the point. Director Brendan Muldowney digs his heels into the deadly-serious tone of the whole thing, scoring the picture with an oppressive Gregorian chant-esque score, which he lays over sword fight dismemberments and face-smashing assaults that would make any Game of Thrones fan proud. The solemnity of the music clashes with the balls-out sensibilities of the action, which seems random at first, only to eventually circle back around on itself to become profound again.

Indeed, the hypocrisy of the church and the monks’ mission is no more absurd than earnest chanting played over ear-ripping, guts-spilling, hand-to-hand combat. Brother Geraldus has no qualms killing (passively or actively) anyone that stands in the mission’s way, which seems like a hell of an attitude considering his chosen profession. For guys like Geraldus (and the movie implies that he’s in good company back in Rome), piety is relative when on a holy quest. Like a holy choir playing over a gutting, it’s not always possible to keep what one believes and what one does in alignment. Holy men though they may be, their actions are sometimes anything but.

It’s an interesting take on an age-old critique of organized religion (tragic hypocrisy), and the fact that Spider-man (Holland) and the Punisher (Bernthal) lead the effort injects Pilgrimage with an extra dose of irony. Just like a monk learning that the world is a cruel, unjust, and violent place despite God’s grace, audiences likewise get to watch as the polished veneer of their cherished superheroes (today’s demigods) wash away. Naturally, the script by Jamie Hannigan would have been written months or even years before casting was finalized, yet the juxtaposition of solemn religious themes against Braveheart-level violence as perpetrated by Marvel’s best and brightest can’t help but to tickle a little.

Another Spider-man, Andrew Garfield, tried his hand at a religious road trip movie last year, and despite its Scorsese pedigree, Silence didn’t connect with audiences. Although Muldowney does fine work in Pilgrimage, one wonders if that’s enough to elevate HIS Spider-man’s version of a similar story on a different continent. Only time will tell, yet being a full hour shorter, and with twice the action and an even more interesting set of themes, it has a fighting chance.

Pilgrimage (2017) Review
Brutal adventure about a sacred rock starring Tom Holland.
By David Duprey
Last updated Aug 12, 2017

Pilgrimage is a 2017 adventure about a group of monks in 13th century Ireland who must escort a sacred relic across an Irish landscape fraught with peril.

Stepping boldly away from the slew of retread action shooters and seen-it-all before summer dramas comes Pilgrimage, a unique adventure tale that treads on often uncharted lands, and not since Jean-Jacques Annaud‘s 1986 classic The Name of the Rose has there been a more compelling story involving monks and mystery. It’s a challenging film, sometimes brutal, but a powerful one nonetheless.

In 55 AD, a Catholic man of great importance is dragged to an isolated plain and stoned to death by his persecutors, the killing stone wielded in two hands as a storm gathers above, the blow making the man a martyr and the rock now a treasured relic. It is housed in a modest monastery in the hills of Ireland nearly a thousand years later in 1209 AD and is thought to be a source of great power. As the Crusades wage on, drawing nearer to the island, Rome is forced to send an emissary in Brother Geraldus (Stanley Weber) to move the relic back to the Pope and so he travels with Brothers Ciaran (John Lynch), Rua (Ruaidhri Conroy), Diarmuid (Tom Holland), and a man called The Mute (Jon Bernthal) across the dangerous lands of Europe. They are met by Norman knights, led by Raymond (Richard Armitage) who offer their protection but have vested interests of their own.

Directed by Brendan Muldowney, Pilgrimage is a multi-lingual journey, dark and atmospheric, sometimes gruesome with a gripping sense of authenticity. It’s muddied and grimy and entrenched in the times with the men in this circle greatly tested. We are meant to question the motives and actions of all those compelled to join the march, learning of the vast diversity among them and the reasons for their quest. At the heart of it all are the monks, with weathered, wise, and aged Ciaran guiding the far younger and curious Diarmuid, unfamiliar with the armored men who surround him. By its very nature, it is a test of one’s faith as trust is laid at their feet. Not all will pass.

As grounded as it is in its religion, the story is more about the times, and as such the men fall upon terrible, graphic violence. Muldowney spares nothing in its savagery, keeping it once again, startling realistic. Bodies and limbs are severed and pierced, heads roll and blood spills, but it’s never hyper-stylized like in most contemporary films, but rather jarringly convincing. A terrifying ambush by a fierce clan of woodsman is a brutal moment and from it a surprise force among them rises. And no matter the battles, what convinces more is the harrowing sorrow and agony some will endure. It’s not always easy to watch, but it is impossible to look away.

Pilgrimage follows a familiar road, a trapping of the premise, the rock the MacGuffin throughout, yet Muldowney never relents, keeping this a taut thriller throughout. Performances all around are above board with Holland very good as the boy whose arc is the most defined though Bernthal, in a (almost) completely silent role, is astonishing. Buoyed by Stephen McKeon‘s excellent thunderous, choral-fused score and Tom Comerford‘s cinematography, Pilgrimage delivers a terrifying and grueling viewing experience that hits hard and resonates long after.



Pilgrimage (2017) Review

Movie description: Pilgrimage is a 2017 adventure about a group of monks in 13th century Ireland who must escort a sacred relic across an Irish landscape fraught with peril.

Director(s): Brendan Muldowney

Actor(s): Tom Holland, Richard Armitage, Jon Bernthal

Genre: Adventure

Film Review: Pilgrimage

A bloody slog through medieval Ireland, 'Pilgrimage' falters in the execution of a compelling tale.

By André Hereford Aug 11, 2017

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From the vivid stoning that opens Pilgrimage, to the moment an ear is ripped off in the midst of battle, the harsh violence in this religious-quest thriller reinforces the notion that the Dark Ages, and any era before that, were savagely perilous times. Especially for those who didn’t command an army or wield a weapon, it was necessary to believe in something or some being who could protect the weak from harm.

Several different forms of belief clash in 13th-century Ireland, as depicted here in the slender story of a mission during the Crusades to move a Christian relic from a monastery on the Emerald Isle back to the Holy Land. The relic—believed to be imbued with the divine power to separate the faithful from the faithless, and vanquish God’s enemies—is guarded by an order of dutiful monks, who live on the island’s desolate west coast. A white-robed Cistercian brother, Geraldus (Stanley Weber), arrives at their abbey with orders from Rome to bring the relic from its sanctuary “at the ends of the Earth” back to the front in the battle for Christendom.

While the Church powers want to use the relic to inspire Crusaders fighting to retake Jerusalem, the monks don’t want to disturb the precious historical artifact in their care. But Brother Geraldus quickly puts to rest any discussion—“Rome has spoken. There is no debate.” Thus, the monks assemble a mini-order, led by Brother Ciarán (John Lynch), to escort Geraldus and the relic, encased in a jeweled chest, to Ireland’s eastern shore, where the Cistercian will make passage by boat back to Europe.

Along the way, the small band—which includes novice Brother Diarmuid (Tom Holland) and a mysterious, brooding mute (Jon Bernthal) who was sheltered by the monks—must protect the relic and their lives from wandering thieves, invading Norman soldiers, and hordes of Gaelic warriors. In one rare clever scene, Geraldus combats the locals’ pagan beliefs in faeries and curses with his faith in Christ and belief in miracles and demons. Otherwise, the script by Jamie Hannigan eschews much humor, as the relic gets stolen, and stolen back, pursued, then lost, then found.

Camps are raided, limbs are shorn, and the whole savage journey is shot with a shaky handheld camera that distracts mightily from the action and imagery. It appears that a great deal more of the budget was spent on fake blood than on tripods and other stabilizing equipment. The red syrup flows and gurgles, as director Brendan Muldowney exercises a practically Dark Age predilection for deploying swords, maces and other entrail-twisting implements of torture and violence. Some of the weapons onscreen exhibit more personality than the characters, only a few of which are allowed any personality at all.

Brothers Geraldus and Ciarán, played with grit and urgency by Weber and Lynch, make a strong impression representing opposite poles of spiritual authority—one brother who preaches fire and damnation, and another who embodies piety and sacrifice. Caught between the two priests, sweet and noble Diarmuid is merely a pawn in this bloody holy war. As such, Holland does fine with very little. The Hobbit’s Richard Armitage at least breathes some fire into the plot as Raymond De Merville, a Norman knight who might or might not be on the side of good.

De Merville's suggestion that he could put any rock inside a pretty box and fool his king, or even the Pope, into believing it’s a divine relic sounds like the most pointed line in the movie. A jewel-encrusted case for a jagged hunk of rock is a fairly apt description for this wobbly illustration of how the Church uses fear and intimidation to draft warriors into its holy army. Behind all the spiritual philosophizing and wisps of computer-generated fog, the real mission seems to be slashing and maiming as many men as possible in under 98 minutes.

Click here for cast and crew information

Ja ja, die Katholiken anno Domini 55...

Film Inquiry - Independent Film Magazine


Film Reviews August 10, 2017

PILGRIMAGE: A Juxtaposition Of Faith, Fear & Everything In Between

by Ryan Morris

“How does a man without a voice confess his sins?”

That’s a question that gets asked in Brendan Muldowney‘s Pilgrimage. It’s a question that opens up a whole catalog of follow-up questions, but it’s also one that would sound best if never answered. When left to echo in the wind, it’s a question that invites speculation and depth and meaning but simultaneously seems to willingly turn away from all of them. Muldowney‘s film has the tone of one that should be an exact replica of the feeling this question gives off.



Unfortunately, it doesn’t quite succeed in doing this. That isn’t to say Pilgrimage is a poor film – on the contrary, I actually found a lot to like here – but it feels as if it’s holding back. It takes on the story of a group of Irish monks who are embarking on a pilgrimage to take an ancient and sacred relic to Rome; however, along the way, they encounter a rival clan who threaten to overthrow their journey, and the whole mission is plunged into violence, sacrifice and betrayal.

From its haunting monastery-styled music to its frequent shots of a moody sky, Pilgrimage has the look and style of a film that should almost be wordless: one that should be bold and minimize dialogue in favor of atmospheric storytelling. Perhaps it’s naive of me to long for such a thing from Pilgrimage – wordless storytelling is a difficult feat, after all. But cinema is seeing a small yet noticeable resurgence of purely visual storytelling lately, what with the triumphs of Mad Max: Fury Road and the more recent Dunkirk, and Pilgrimage just seemed to me to be the type of film to follow suit and push dialogue aside in favor of visual, atmospheric storytelling.


A Wordless Bernthal

It ultimately doesn’t do this, but it does give us one character who matches that description: the Mute, played sensationally by Jon Bernthal. It’s a feral, ferocious wordless performance, one that oozes confidence and character complexity. The Mute is a violent character, and he’s damn good with a sword, but Bernthal works to add a history to the wordless gimmick. Other characters are left to verbally fill in the blanks for us, but it’s Bernthal‘s character you come away remembering – perhaps further evidence that Pilgrimage‘s reliance on dialogue is one of its most misjudged elements.


Aside from Bernthal, the other performances are uniformly strong. Tom Holland (of recent Spider-Man fame) plays a young novice monk, and he brings an innocence and vulnerability to the otherwise bleak, dark film. Holland isn’t given as much to do as his talents would benefit from, but it’s a solid performance nonetheless.


Richard Armitage is also on hand as a Norman soldier – eventually taking on a kind of villain character as the narrative progresses – in a performance that works on an impressive number of levels. Raymond (Armitage‘s character) works to protect his own family even as he threatens to destroy the pilgrimage of the film’s protagonists, creating a moral conflict within him that Armitage handles deftly without ever overplaying his cards. Even amongst its rage, it’s an impressively nuanced performance.

From Faith to Fear

Pilgrimage takes on a dangerously high thematic weight very early on, but writer Jamie Hannigan‘s script balances his multitude of themes nicely. He allows them to blur into each other without sacrificing one for the other, bringing the film’s characters and their various motivations under the same thematic umbrella.

Pilgrimage is heavily focused on faith and our willingness to dedicate ourselves to something unanswered, but it also locates a fear within that, and soon begins to examine how this fear can drive us through our journeys. The film demonstrates this thematic blurring visually, too: a bloodied sword impaled in the ground, left to resemble a crucifix in a particularly stunning shot; a crucifix tattoo on the Mute’s back, surrounded by scars and old wounds.



As well as depicting the film’s themes through its cinematography and mise-en-scene, Muldowney pushes Pilgrimage down a violent path to reinforce this war between faith and fear. There’s a particularly brutal torture sequence in the middle act – one that’ll get your stomach churning at the very least – and Muldowney makes sure to keep the scene in close-up. He refuses to shy away from the brutality of the story and the era, giving his film a backbone that it would’ve perhaps been easy to skim over.


And this helps Pilgrimage a great deal, especially as it heads into its homestretch. The characters are beaten and worn down, their faith tested and their loyalty potentially damaged. Muldowney takes the camera into the mist for part of the final act, again visually demonstrating this shrouded faith and obscured loyalty. The film frequently suffers from an over-reliance on loud, overbearing music during moments that would favor subtlety, but even this is sidelined come the final act – it’s as if Muldowney suddenly realizes the potential his film has and launches it into a triumphant conclusion.

Pilgrimage: Conclusion

Still, even if most of Pilgrimage doesn’t feel like the film it should be, it remains enjoyable viewing. Well, enjoyable feels like the wrong word here. Pilgrimage isn’t an enjoyable film – it’s far too brutal and heavy for that, but it’s one that’s undeniably well-crafted and boasts a talented cast serving up reliably strong performances.

Muldowney is a director still in the early years of his career, but he brings a remarkable confidence to Pilgrimage, elevating it above its frequently overbearing dialogue and using his visual palette to create powerful symbolism that connects back into the script and the characters.

Pilgrimage may suffer from an uneven first two acts, but when it learns what kind of film it’s been trying to be all along, it’ll finally give you everything you’ve wanted from it.

Was Jon Bernthal’s performance the standout for you as well? Let us know in the comments!

Pilgrimage will be released on multiple VOD services on August 11th.



Opinions expressed in our articles are those of the authors and not of the Film Inquiry magazine.
Tags from the story
2010s 2017 adventure Brendan Muldowney drama Ireland Jon Bernthal Middle Ages religion Richard Armitage thriller Tom Holland

Ryan Morris
Ryan has a degree in Film & TV Production. He has written about all things film and TV on his own blog, http://www.morrismovies.co.uk, for five years. His favourite film is Inception, as it's kind of the one that drew him into cinema in the first place. If you're one of those people who think Christopher Nolan is overrated, he probably doesn't like you. He isn't sorry.
http://www.morrismovies.co.uk

Pilgrimage Review

Directed by Brendan Muldowney
Pilgrimage 2017
96 MIN

Review by Brian Orndorf, August 10, 2017


Medieval monks go on a mission in “Pilgrimage,” a bruising actioner that returns to a burgeoning world of fanaticism and the worship of magic. Director Brendan Muldowney isn’t interested in telling a superficial story of travel and combat, but sets out to make the viewer feel the pain of the journey, which keeps its characters in state of discomfort and confusion for the duration of the run time. That’s not to suggest the feature is a slog, as it highlights compelling characterizations and meaty conflicts, with a primary offering of mysticism fueling tempers in the middle of Ireland, finding Muldowney keeping his effort primal and propulsive, using limited locations effectively, tied together with a reasonable amount of mystery.

The year is 1209, and the Crusades have carried on to a point of fatigue, forcing Rome to send an emissary in Brother Geraldus (Stanley Weber) to the far reaches of Ireland. His mission to retrieve a special rock that was used in the stoning of a Catholic martyr in 55 A.D., secured by a monastery home to Brothers Ciaran (John Lynch), Rua (Ruaidhri Conroy), Diarmuid (Tom Holland), and The Mute (Jon Bernthal). The relic is meant to be returned to the Pope for use in Jerusalem, with its special powers in need of close protection from outside interests. Setting out for a long odyssey across Europe, the monks are challenged by physical demands and complications from Norman knights, led by Raymond (Richard Armitage), who offer protection from warring clans, but also carry interest in the relic, keeping the monks on edge as they cross over dangerous lands.

“Pilgrimage” opens with the creation of the holy rock, showcasing its use in the murder of Catholic who succumbs quickly to his stoning, with the killing blow creating an object to be protected for a millennium. The story leaps ahead to 1209, entering a hostile land in Ireland, which has been taxed by war and division, but Ciaran’s monastery remains in a state of relative peace, with the monks keeping to themselves on a remote island, staying busy with tasks and, for the novice Diarmuid, an education in the primal commitment to faith. Normalcy is broken by the arrival of Geraldus, a fanatic from Rome who demands safe passage for the relic, establishing a special mission for a group unaccustomed to warfare or even extreme travel, with Rome a vague endpoint for a walk that will test the group in full. The set-up holds tremendous promise, using the regality of religion as a thin veil for exploitation, arranging a test of patience and faith for the travelers, who carry with them a special relic that many people want to claim for themselves.

“Pilgrimage” isn’t for lightweights. It’s set during a time of unrelenting violence, and brutality tends to dominate the viewing experience, showcasing the chopping of limbs, head bashings, and there’s a special tool in play with a specific disembowelment function, plunged into the belly to expose intestines, guaranteeing a painfully slow death. Muldowney doesn’t shy away from the realities of the age, keeping aggression painful and protracted, which forces the monks into war, with The Mute proving himself to be a uniquely feral creature, keeping Bernthal shirtless and crazed, playing up his thespian strengths. “Pilgrimage” enters forbidden forests and open lands populated with enemies, giving the picture pockets of brutality to hold attention. While special effects aren’t always convincing, the primal push of agony registers in full, giving the feature palpable menace, greased down with the perils of fanaticism and questions of faith.

Muldowney endeavors to keep “Pilgrimage” somewhat realistic through the use of language, with French, English, Italian, and even Gaelic attempted by the cast. It’s decoration for what ends up more of a bruiser than a sincere presentation of history, but it’s welcome. Performances hit their marks, creating extremes in temperament and fear, with Holland solid as the corrupted youth, and Armitage wild as a demanding knight. The human element of the film is necessary to help absorb its stretches of rage, but Jamie Hannigan’s screenplay maintains spiritual guidance and mysticism, infusing the B-movie with a sense of heavenly purpose, and there’s the question of the rock, which provides a fascinating mystery at the core of “Pilgrimage,” contributing a sense of the unknown to support itchy camaraderie and savage tests of faith.

Pilgrimage

by Derek Smith

August 7, 2017


Though it paints its characters in broad strokes, director Brendan Muldowney’s Pilgrimage places them in a 13th-century Ireland that offers a unique cultural specificity to a portrait of paganism versus Christianity and the after-effects of the Norman invasion. The film’s images grittily capture the brutality of the period, though they also have a troubling tendency to linger on and even savor the excessively graphic violence that explodes on screen throughout. The stark contrasting of the peaceful asceticism of the story’s monks with the violent tendencies of the other characters is as bluntly drawn as the screenplay’s portrait of innocence pitted against corruption.

Pilgrimage’s major conflict lies between the rapidly expanding, centralized power of the Catholic Church in the post-Crusades era and a group of monks forced to transport their monastery’s most cherished relic to Rome for the pope. Brother Geraldus (Stanley Weber) of the Cistercian order arrives with the authority of the pope to the monks’ small village, insisting that their sacred relic holds the power to distinguish the faithful from the faithless and can be used to unleash the wrath of God to protect His followers. Among those who accompany Geraldus back to Rome with the relic are a nameless mute (Jon Bernthal), thought to have fought in the Crusades prior to his vow of silence, Diarmuid (Tom Holland), a young monk who’s never left the village before the start of this pilgrimage, and Ciaran (John Lynch), a senior monk who questions the motives of the Church from the outset.

It remains too uncompromisingly black and white as a character study and a story of the conflicts of faith.

Pilgrimage functions as a virtual travelogue through medieval Ireland as well as a tale of untainted faith encountering the corrupted, power-hungry motives of a large, increasingly powerful organized religion. The growing tension between the well-dressed, dangerously fundamentalist Geraldus and the spartan monks is mediated by a group of pagan Norman soldiers, led by Raymond De Merville (Richard Armitage), who agree to escort and protect Geraldus and the relic all the way to Rome in exchange for fair compensation. This journey in effect becomes a tour through a country that was until then operating primarily outside of European control, and as the characters cross Ireland, viewers are made privy to a land plagued by constant tribal warfare and splintering pagan tribes with an array of evolving belief systems.

The film’s aesthetic is driven by a grim color palette and a heavy reliance on handheld close-ups and medium shots, all mirroring the solemn piousness of the monks. But like its soundtrack full of Gregorian chants, Pilgrimage drones on rather monotonously. Once Muldowney establishes the relationships that dominate the film, there’s little intrigue that plays out between the characers, who quickly ossify into caricatures of rapacious authoritarianism or solemn, unwavering piousness. Broken up by fight scenes that are impactful only because of their grotesqueries, the film remains too uncompromisingly black and white as a character study and a story of the conflicts of faith.

‘Pilgrimage’ sends Spidey, ‘Walking Dead’ star on a 13th century quest
Entertainment 08/10/2017, 06:39am

Richard Roeper


After all these years and so many movies, I almost never turn away from the screen or close my eyes at impending onscreen violence — but director Brendan Muldowney’s “Pilgrimage” almost took me there on a couple of occasions.

This is one rough-and-tumble medieval Irish religious adventure, my friends.

It also features more star power than you might expect from a film such as this.

We get Jon Bernthal (so good on “The Walking Dead” and what a shame his character was extinguished so soon), on a career roll as a character actor after standout supporting work in “Baby Driver” and “Wind River.”

Bernthal delivers one of the most impressive performances of his career, playing “The Mute.” More on “The Mute” in a minute.

And we have the new Spider-Man, Tom Holland, earning some period-piece chops by donning a monk’s robe, disappearing into character with no small aplomb and even speaking Gaelic in some passages as the earnest young Brother Diarmuid.

Well done, Spidey! I mean, Tom.

(Not that Holland had been cast as Spidey at the time “Pilgrimage” was filmed. Holland was reportedly sending audition tapes to the masters of the Marvel Universe while he was doing “Pilgrimage.” I think it’s safe to say this relatively low-budget endeavor would have had difficulty affording Holland post-“Spider-Man: Homecoming.”)

“Pilgrimage” opens with a viciously effective sequence in which a man named Matthias, known by legend as “the 13th apostle” chosen to replace Judas Iscariot, is stoned to death.

We transition to the 13th century. The rock used to strike the fatal blow to Matthias has become Ireland’s holiest relic, kept under wraps in a highly guarded monastery.

A Cistercian monk called Giraldus (a suitably duplicitous Stanley Weber) orders the coveted relic to be transported to Rome, to be used as a recruiting tool of sorts for the Crusades.

“Rome has spoken!” he tells the Irish monks.

So off they go on a surely perilous journey. The small band of traveling monks guarding the precious relic includes the herbal healer Brother Ciaran (John Lynch), young Brother Diarmuid (Holland) and The Mute, who has an enormous cross emblazoned between his shoulder blades and looks like he must have invented the world’s first gymnasium, judging by his ripped physique.

Director Muldowney does a fine job of immersing us in this long-ago world, as the monks encounter all manner of opposition, from local tribesman to Norman pillagers to mysterious, perhaps supernatural forces. The score from Stephen McKeon and the photography from Tom Comerford contribute greatly to the period-piece atmosphere.

“Pilgrimage” takes itself too seriously at times, with the dialogue veering into the overwrought, and the metaphors about modern-day blind faith and undying loyalty becoming increasingly transparent and obvious.

Holland does fine work as the novice, but it’s Bernthal who owns the screen as The Mute, who will protect the relic and his brothers at all costs. It’s fiercely effective work.

★★★