A bit overrated, but still an amazing film

Too much about the plot just didn't add up, the writing was bad, some of the scenes were cringey and awkward,

A film with more than the usual spoiler issues. Talking about it in any detail feels akin to handing you a gift-wrapped present and saying, "I hope you like it -- It's a thriller about a diabolical secret experiment."

There's a more than satisfactory amount of boom-boom in the movie's trim running time.

This film was widely panned by critics everywhere when it came out, and it doesn't take much to see why. The story is a completely one-sided railing against doctrines of the Catholic Church in order to justify homosexual activities. Don't waste your time with it. "I want to, so I'm gonna" is the entire statement of the movie. Don't expect any real arguments or philosophy here. The acting is passable at best, but given that the screenplay/story is terrible, they didn't have much to work with. What's frustrating is that there's no serious dialog where the clergy get to spell out exactly why sins are sins here along with the harmful after-effects of them. The film seeks immoral justification without proper philosophical/mental evaluation.

Father Greg Pilkington is a young Roman Catholic priest who is assigned to a tough working-class parish in inner-city Liverpool, where he acts as assistant to the existing parish priest Father Matthew Thomas. The two men are very different. Father Pilkington is a theological and political conservative; his first sermon is effectively a paraphrase of Margaret Thatcher's famous "no such thing as society" speech. The considerably older Father Thomas is politically a left-wing radical and a theological liberal; Father Pilkington is shocked to discover that he is engaged in a long-standing sexual relationship with his housekeeper Maria.The younger man, however, also has his own struggles with his sexuality, as he is secretly a homosexual. He meets another man, Graham, at a local gay nightclub and the two begin a physical relationship. Father Pilkington's faith is further tested when a teenage schoolgirl confides to him in the confessional that she is being sexually abused by her father. Because of the traditional Catholic doctrine of the "seal of the confessional", he is unable to notify the authorities, even though he is sorely tempted to do so."Priest" was one of the most controversial British films of the 1990s because of the way in which it dealt with the issues of homosexuality, incest, child abuse and religious celibacy. As might be expected, it was particularly controversial in Catholic circles, and there have been numerous allegations, both on this board and elsewhere, that it is "anti-Catholic". Critic Roger Ebert, although he is no longer a practising Catholic, was particularly scathing, saying that "For this movie to be described as a moral statement about anything other than the filmmaker's prejudices is beyond belief." This is not a view with which I would agree. "Priest" is a dramatic exploration of various moral issues raised by Catholic theology, not an anti-Catholic diatribe. It is clearly not anti-Catholic in the sense of "Protestantism good, Catholicism bad". Nor in the sense of "Atheism good, Religion bad, Catholicism particularly so". Both the protagonists Father Pilkington and Father Thomas are men who, despite their disagreements with the Church authorities, find (in different ways) that Christian teachings give meaning to their lives as a source of values. Both (although they are tempted to leave the priesthood) remain loyal to the Church as an institution, believing that it is through the Church that they can best serve God. That doesn't seem to me to be either anti-Christian or anti-Catholic.At times it appears as though the scriptwriter Jimmy McGovern is arguing against traditionalist religion and in favour of a more inclusive Catholicism which accepts married priests, takes a more liberal line on homosexuality and focuses more on social issues than questions of sexual morality. Yet even this would be an oversimplification of the film's position. When Father Pilkington is finally exposed as gay, he is the target of severe criticism from his bishop, from several members of his congregation and from an elderly priest who tells him in Latin that he is a pustule on the body of Christ. (Greg's response is to tell him, also in Latin, "Go **** yourself, you dirty old man"). Yet his severest critic is himself. He sees his homosexual nature as something sinful, as a temptation that his is too weak to resist.Both Father Pilkington and Father Thomas can, in different ways, be seen as hypocritical. Yet Greg at least sees his hypocrisy for what it is. He realises that his priesthood gives him a position of spiritual authority within the Catholic Church and widespread respect outside it. He is therefore bound in all honesty to try to fulfil the responsibilities which go with that position, including the responsibility to abide by his vow of celibacy. Father Thomas, by contrast, is not self-critical enough to realise how hypocritical he is being. One of his favourite quotes from the Bible is "Judge not, lest ye be judged". He interprets this, however, as a sort of bargain with God, hoping that if he takes a laissez-faire attitude to other people's sex-lives then God will turn a blind eye to his own blatant violation of his vow of celibacy. Father Thomas's principle of non-judgementalism does not, it should be noted, extend beyond the field of sexual ethics. In political matters he can be very judgemental indeed; in one sermon he accuses those who do not share his socialist world-view of "spitting in the face of God".This was Antonia Bird's first feature film, and I was very impressed by it. She manages the difficult task of making complex religious issues seem both interesting and relevant in the cinema, but "Priest" is much more than a filmed theological debate. It is also a powerful psychological drama, with excellent performances from the two leading actors, Linus Roache and Tom Wilkinson, and an important contribution to the distinguished British tradition of social-realist film-making. Unlike some, I did not see it as a prejudiced attack on the Church. Rather, it is an exploration of a number of important issues which the Church needs to confront. That need is perhaps even more urgent in 2010 than it was in 1994. 8/10

Linus Roache plays a young British priest conflicted over his vocation, by the Catholic rules governing him, and by his sexual orientation (he picks up a lad for sex in a gay pub, and we are to assume this isn't his first time at the rodeo). Beginning with a bit of religious anarchy (which is muted, and then forgotten about), this well-meaning melodrama indicates to us that it intends to be shocking and unsettling. Unfortunately, screenwriter Jimmy McGovern is much too interested in being sympathetic to our hero, resulting in a film that seesaws its way through a number of dispiriting episodes. Some of McGovern's dialogue regarding sex, celibacy, homosexuality, and the church is thought-provoking, but his central character is a dullard. Roache, with his round, empty eyes and gray pallor, hasn't an ounce of charisma. The sparkle that was so needed here is provided by Tom Wilkinson in the smaller role of the older, seasoned priest who is in love with his housekeeper. The movie isn't very well edited or directed, though there are some strong scenes as well as plenty of ludicrous ones. ** from ****

This film was very controversial upon initial release, but its not as sensational as you might think. Some other users have called it slow, or even boring. I think it's an excellent film and a subject that needs to be explored, so if you're looking for action go elsewhere. The questions of spirituality and devotion to a religion are no addressed often enough in mainstream films. Most Hollywood films seem determined to deny that religion even exists. Furthermore, this is a ground-breaking study in homosexuality. In 1994, smart gay-themed films were even harder to come by, and this is one of the first to break through to mainstream attention.