Leviticus Movie Review: A Dark Faith Thriller

We meet Naim (Joe Bird) and Ryan (Stacy Clausen), two teenage boys in a remote, God-fearing community that feels like it’s been plucked straight out of a Flannery O’Connor short story - if Flannery O’Connor had a steady diet of Cronenberg films. They’re drawn to each other in that desperate, all-consuming way only teenagers can be. But this isn’t just a story about forbidden love. A violent entity is stalking them, and its cruelest trick is shape-shifting into the form of the person they desire most: each other.

So, imagine the horror. You’re alone in the woods, terrified, and the love of your life appears. You run to them for comfort. But their smile is just slightly too wide, their eyes glint with something predatory, and their touch feels like ice. The entity weaponizes their deepest, most sacred feelings against them. Meanwhile, the town’s local “Deliverance Healer” (a wonderfully unhinged Nicholas Hope) is determined to exorcise the demon - but his methods are arguably more terrifying than the monster itself. The boys have to figure out how to escape both the supernatural threat and the very real, very human persecution closing in around them.

Let’s get the obvious out of the way: the central premise is a gift. It’s a psychological horror that doesn’t need jump scares to unsettle you, though it has a few good ones. The real terror comes from the constant gaslighting. Is that Naim, or is it the thing wearing Naim’s face? Does Ryan’s hesitation to embrace him mean he’s wising up, or is he just as lost as Naim is? Chiarella milks this tension for all it’s worth, and the sound design does the heavy lifting - whispers that sound like the boys’ own voices, a low drone that makes your teeth ache.

Joe Bird and Stacy Clausen are phenomenal. They have to play multiple versions of themselves: the vulnerable, genuine teenage boy, and the cold, predatory imitation. Bird, in particular, has this knack for shifting his posture and eye contact, making you feel the uncanny valley even when he’s standing in broad daylight. Their dynamic is the heart of the film, and it’s what keeps you invested even when the plot starts to wander.

Visually, the film is stunning. Adrian Chiarella paints the Australian outback landscapes with a grim, beautiful pallor. The horror is often left to the shadows at the edge of the frame, which is a smart choice - it makes the few times the entity fully reveals itself all the more shocking. The gore, when it comes, is practical and nasty, but never gratuitous.

However, Leviticus isn’t without its flaws. The middle section drags a bit, spending a little too much time on the community’s paranoia. Also, the film’s religious allegory is laid on thick. The title, the Healer, the constant quoting of scripture - it all feels a bit heavy-handed, especially when the core emotional story is so much more resonant. You don’t need to be told the town is repressive; you can feel it in every stifled glance and whispered conversation.

Pros

• The central concept is a fresh, terrifying twist on the "monster in the closet" trope.
• Electric, committed performances from Joe Bird and Stacy Clausen.
• Atmospheric direction and sound design that create constant dread.
• Practical effects that are gross and effective.
• A genuinely affecting queer love story at its core.

Cons

• The pacing sags noticeably in the second act.
• The religious symbolism is about as subtle as a church bell.
• Some supporting characters, like Mia Wasikowska’s Arlene, feel underutilized despite their talent.
• The ending might be too ambiguous for viewers looking for a clean resolution.

Leviticus is the kind of movie you’ll be thinking about for days. It’s messy, it’s ambitious, and it sometimes trips over its own thematic footwear. But it’s also the rarest thing in modern horror: a movie with a truly original idea, anchored by two breakout performances that will rattle you. It’s a painful, beautiful, and terrifying look at how love can feel like the scariest thing in the world - especially when something else is wearing its face. If you’re looking for something that feels less like a ride and more like a fever you can’t shake, this is your ticket. Just maybe don’t watch it on a first date.