There Are No Saints (2022) 

Following his release from prison for a crime he wasn’t guilty of, The Jesuit goes back home and discovers that things have changed, but not for the better. He decides to takes things in his own hands once his son is at risk. 

Written by Paul Schrader and directed by Alfonso Pineda Ulloa, There Are No Saints is a serviceable thriller/crime film. It’s pretty good, but it’s not something that will stick with the viewer long term, except for one single scene which comes off as unneeded and unnecessary cruel. The story here is decent overall, giving the viewer some of the usual beats of a crime thriller and a few new ideas here and there. The lines for the cast as believable. The writing is decent, but feels like lower-level Schrader. His work is usually so much stronger, so much stronger. Here, it feels so middle of the road for him. Director Alfonso Pineda Ulloa on the other hands is one most will be less familiar with, so there isn’t much of a pre-established expectation. Here, his work is right for the material, nothing more, nothing less. The direction works, but doesn’t seem to bring a ton to the story and to the film itself. It works, but doesn’t elevate the material.  

The cast here is led by José María Yazpik as Neto Niente aka The Jesuit who does well with the part and gives a performance that is stoic at times and occasionally a bit more emotionally involved. His work here carries the film. The cast is filled with names and faces viewers will know and love, but gives each of them just a few lines and, in some cases, have glorified cameos. Shannyn Sossamon does get a meatier part and watching her in it is a bright spot in the film. Her role, one of the rare few women here, is one that feels more fleshed out, more thought out, something perhaps due to her work more than the writing/directing. The character is not all that complex, but she does bring more to the table than most of the others. 

One of the high points of the film is how it looks. The film makes the most of all its locations, adjusting the mood of the images to these locations, to the scenes, to what the film needs. The cinematography by Mateo Londono is possibly the best part of There Are No Saints. His work here is visually appealing and gives some of the scenes a lot more than could be expected. The film has an expensive look to it, images that function as more than just a frame for the actors. This is why hiring a talented cinematographer is so important. 

There Are No Saints is a decent, yet not particularly special crime thriller. It does have one particularly cruel sequence that doesn’t really ads that much to the story and that will seriously annoy many. The film has a dark undertone (and overtone), so there was no real need to show this. The performances here are fairly good, not really anything that stands out all that much, with Shannyn Sossamon shining amongst them.