User reviews

As slow-burns go, Fred Walton's mysterious catholic-bounded thriller takes the cake with its minimal and sombre treatment. It's one of those progressive and morally hounded plots (from William X. Kienzle's novel), which is a puzzle to decipher, as you find yourself also personally getting involved with the brooding investigation with realistic characters. Some of the scheming is a bit hard to swallow, but for most part it's smartly penned (by Elmore Leonard and Fred Walton) and the low-key approach seems to make you concentrate on the lyrical waxing (especially on those commitments to the priesthood and the self-doubting). However the pacing seemed to plod a bit too much, where some monotonous patches seemed to lose focus. Two stalwart figure heads; an impressive Donald Sutherland and equally so Charles Durning are engagingly strong. Sutherland has a sincere presence about him, that even if he looks half-asleep. He's still watchable. Josef Sommer and Belinda Bauer offer able support. Walton's direction is slickly presented, but feels shapeless and dry. At least he did construct a subtle, startlingly dreary atmosphere and the music score etches out a placidly haunting vibe. The violence happened mostly off-screen, but managed to leave a chilling mark and the Detroit setting complements the weary imprint. A sleepy and glum, but well-acted and rather moving thriller.

Is this a giallo? A neo-noir? A detective story? Let's not play with labels. Let's just see it for what it is — a whodunit where priests and nuns are the victims of a serial killer who leaves a black rosary on their dead bodies.

Directed by Fred Walton (When a Stranger Calls) and adapted by Elmore Leonard, this is a dark, rough take on William X. Kienzie's novel (Kienzie left the Catholc priesthood in 1974 after 20 years due to the Church's refusal to remarry divorced people). This may have been the only movie concerning the detective skills of Father Robert Koesler (Donald Sutherland), but the character appeared in twenty three more novels from Kienzie.

The character is a progressive priest — even falling for a reporter, Pat Lennon (Belinda Bauer, RoboCop 2, Flashdance). He serves with Father Ted Nabors (Charles Durning, Tootsie), who is the exact opposite — a racist throwback to pre-Vatican 2 who follows the Church to the letter of the law.

The central dilemma of the film? The killer confesses to Koesler, who can't do anything about it, thanks to the Church's Seal of Confession. But what if other lives — maybe even his own — are in danger?

The film was shot on location at Detroit's Holy Redeemer Parish, and if you look hard enough, you'll see an uncredited Jack White — years before The White Stripes — as an altar boy. That feels like it should be an urban legend, but it is true.

The film has what some describe as a leaden pace. There are some great moments in it, such as when Koesler hears the killer in a cemetery and the ending, where the real killer is revealed. I'm always debating with myself whether or not to spoil the ending. It's a thirty year old movie, but I feel weird doing so here. Must be the Catholic in me.

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The author has relied heavily upon the literary device of COINCIDENCE in constructing his plot; i.e., he expects you to believe that several people living in the same part of the country would have certain proper names. I'd love to explain that in detail, but doing so would ruin part of the ending. Rent this movie and see if you agree. But this flaw will not diminish your enjoyment of the film, as there is enough action to keep the murder mystery fan happy. I was never bored during any of the times I watched this film. I recommend this any day of the week.

Donald Sutherland is a Detroit priest who hears the confession of a serial killer with a grudge against the clergy, and is later forced by the ethics of his vocation to (reluctantly) hunt down the murderer himself, unearthing a spine-chilling string of motivation behind each new death. It could have been just another routine shocker, but a clever script and some unusually taciturn direction turns the otherwise familiar material into a modest but intriguing whodunit (actually more a 'whydunit') set against the rituals and mysteries of the Catholic Church, always a reliable source of guilt and intrigue. The steady accumulation of clues and evidence is interrupted only by an unsurprising (and unnecessary) romantic subplot, which happily compromises neither the mystery itself nor Sutherland's oath of celibacy.

I grew up in Detroit, so it's surprising that I've never seen this film. I played college baseball, and one of the guys on our team went to high school at Holy Redeemer (the church in this movie), so it was interesting to me in that way, as I'd never seen this church before.

The thing that bothered me as the movie ended is why the killer was killing Catholic priests and nuns. Maybe it was there and I missed it, but the end of the movie left me thinking "why?". After watching the whole movie, I felt let down at the ending.

Father Koesler (Sutherland) seemed to me to be less than devoted to his calling. Why did he break Catholic rules and baptize a baby born out of wedlock? Whether or not that's a good rule, he is required to abide by it, not pick and choose which he'll obey and which he'll ignore. And why did he break into someone's house? Why would a priest commit a felony?

I'm considering re-watching this film to see if I missed a few things.

I like religious horror and giallos. For example one of my favorite horror films is Alice Sweet Alice, I think The Exorcist is a well-written drama, and I lean towards the Italian films with spiritual or religious imagery. The Rosary Murders deals with a lot of complex issues in the Catholic church, someone might argue the plot of this film is absurd, but it's not. A priest cannot tell on a child rapist or a serial killer even if they confess. One of the reasons I am giving this flick a solid six is because it attempted to confront these kinds of issues head-on, as well as other problems like overly focusing on sexuality in the American conservative churches to the point of insanity, and the mandatory celibacy of priests.

But to see Donald Sutherland in this film a scant fifteen years after the epic supernatural giallo, Don't Look Now, is a little sad. The Rosary Murders would have been so much better handled by a director with a better eye, who actually understood lighting and atmosphere and editing techniques. Instead, this movie looks like it could have been made for tv, and I consider it a stylistic flaw when handling this kind of subject matter. No one wants to watch a movie about religious murders that looks like an episode of Hill Street Blues.

Donald Sutherland is good, but he can't make this film worth seeing all by himself. The director doesn't seem to have the temperament that's needed for a successful thriller, the plot moves slowly and monotonously, and the whole thing just plods on to an ending that fails to explain the killer's motivation satisfyingly. (*1/2)

Donald Sutherland plays Father Robert Koesler, a priest in Detroit who hears the confession of a murderer who is going around offing various priests and nuns. After doing some amateur sleuthing, Koesler figures out who the killer is. But he's bound by church law to say nothing. His superiors - among them, the hard nosed, conservative Ted Nabors (Charles Durning) - believe that nothing can violate the sanctity of the confessional. So, as you can guess, Koesler is a very troubled man. Koznicki (Josef Sommer), the detective on the case, is not as concerned with the rules of the Catholic church, aiming to catch himself a killer.

This sure sounds like a neat premise for a thriller, but on the whole the story isn't told in a particularly interesting way. The subplot of a potential romance, between Koesler and Pat Lennon (a reasonably appealing Belinda Bauer), really doesn't add anything to the material. Fred Walton ("When a Stranger Calls" '79, "April Fool's Day" '86) directs with competence and gives the proceedings a very somber quality. On location shooting ("The Rosary Murders" was actually filmed in Detroit) helps a bit, although the story doesn't exactly hold any surprises. (The killer turns out to be a truly disgusting piece of work.) That's too bad, considering that the two credited screenwriters are director Walton and the great author Elmore Leonard. There is a moment around the one hour mark that struck this viewer as simply too hard to swallow.

There are some solid actors and familiar faces among the cast: Anita Barone, Rex Everhart, Stefan Gierasch, Tom Mardirosian, Mark Margolis, James Murtaugh, Lupe Ontiveros, Addison Powell. But the movie is anchored the most by Sutherland, who plays Koesler as an easygoing, likable chap with a fairly progressive and compassionate attitude.

He and Durning manage to make this worth seeing.

Six out of 10.

Murder mysteries generally speaking are criminal fantasies, outside of those based on real-life or so-called true crime. "The Rosary Murders" is based on a neo-noir novel by William X. Kienzle who was a real catholic priest. The story involves a series of murders associated with people in the catholic church, some laymen/laywomen while others are clergy. The murderer leaves behind a rosary. Donald Sutherland plays Father Koesler, a sort of priest-turned-detective. Also, at one point, the murderer confesses to the Koesler and he has to decide if he should break the church law of keeping confession confidential.

Typically, civilians outside of law enforcement are not supposed to engage in their own investigations of a crime being handled by the police. However in this story Father Koesler is given a lot of leeway to explore the case and interview witnesses. It turns out there's a backstory involving a nun who has entered into a cloistered convent where she has taken vows of silence. Koesler realizes she knows something crucial to the case.

Overall, I didn't find this film very entertaining. It was interesting, but also very gruesome and the overall feel was almost so real it was verging on not being terribly entertaining. Strangely films like "The Silence of the Lambs", though gruesome, are compelling from beginning to end. I didn't find that true with this film. Compelling but not really entertaining, and if it's not entertaining, what's the point?

***SPOILERS*** Starting with the 40 day's of Lent on Ash Wednesday a series of murders occurred in and around this suburban Detroit church ,The Holy Redeemer, that has everyone, the public and police, shocked and puzzled to who would do such a thing. Leaving a rosary on the bodies of his victims the killer seems to be sending a message to what his motives are. Later in the movie he makes himself and is motives known during confession to father Robert Koesler, Donald Sutherland.Three years ago his 16 year old daughter was killed and the murderer is holding the church and it's priests and nuns responsible for her death and now is exacting vengeance on them.

Father Koesler unable, and unwilling, to go to the police in order not to break the church's age old policy of not revealing confession's of it's members and congregation is now troubled. Feeling that whoever is now killed by this "Rosery Murderer" will be his responsibility and tries to solve the killings himself by tracking down leads that the killer gave him.

Checking out three year-old newspaper obituaries Father Koesler finds the name of a Cathy Javison, Jane M. Smith, who died at the age of 16 the same age that the killer said his daughter died. Going to the Catholic school that Kathy attended to find out about the circumstances of her death Father Koesler is shocked to find out that the young girl committed suicide! It's seems that her suicide was covered up by he school since Kathy has a Catholic funeral service at the Saint Camillus Chaple and was buried in a Catholic cemetery.

Meanwhile back at the Holy Redeemer Church the murders of priest's and nuns continue with Father Koesler trying to find out just where the late Kathy Javison father, the prime suspect in the killings, is since the house that the Javisons used to live at was found abandoned by Father Koesler.

Going back to Kathy's school father Koesler get in touch with Kathy's teacher and good friend and confidant Sister Mary,Anna Minot, who after upholding a three year old vow of silence since Kathy death agrees to tell the priest the reason for her killing herself. Sister Mary's revelations shocks Koesler almost to the point where he has trouble understanding what she's telling him! Even though it was as clear as a bell to anyone in the audience listening.

With the killing reaching a climax with the coming of the end of Lent, Good Friday, is starts to crystallize in Father Kloesler's, as well as the police, mind that the main object of the Rosary killers obsession is non other then the presiding priest of The Holy Redeemer Church himself Father Ted Nabors, Charles Durning. We later find out, from the killer Kathy's father Robert Javison ,James Murtaugh, that Father Nabors was the priest to whom he confessed his sins to just before his daughter killed herself. Sins that Javison committed that directly lead to his daughters suicide!

Somewhat overdone crime drama that has too many side or sub-plots that makes it a bit hard to follow. It's when "The Rosary Murders" starts to focus in on it's main theme and we start to zero on the killer that it's starts to get interesting. The reason for his murderous rampage against those in the church was in helping his daughter Kathy not that the killers actions in any way were justified though you can understand his sick and demented reasoning. He was trying to offset what he did to his daughter and put the entire blame on the church who's only crime, in regard to Kathy's suicide, was that of omission.

"The Rosary Murders" follows a Catholic parish in Detroit that is plagued by a series of brutal murders. One of the priests (Donald Sutherland) is joined by a journalist (Belinda Bauer) attempting to cover the story; both aim to stop the killer before he dispatches more nuns, monks, and members of the Holy Order.

This is a downbeat and gloomy affair from Fred Walton, who, the year prior, directed the playful, joke-filled slasher "April Fool's Day." "The Rosary Murders" is more a return to Walton's style as seen in "When a Stranger Calls" (1979) in that it is a much more austere, dour take on the genre. This film gives no reprieve, and the subject matter is relentlessly grim. It has a similar taste to other Catholic-themed slasher films, such as "Alice, Sweet Alice" (1976), or even "The Exorcist III" (1990), both of which set a serial killer narrative against the stark backdrop of the Catholic Church. There is something inherently transfixing (and sinister) about this formula that evokes a creep factor that is hard to shake (especially if you were brought up Catholic). "The Rosary Murders" also has a late-'80s flair about it that at times feels redolent of a number of "Unsolved Mysteries" episodes.

What works best about the film perhaps is the atmosphere: the wintry Detroit setting only adds to the ambiance, and the gothic cathedral and parish buildings are moodily photographed throughout. Donald Sutherland gives a muted but solid performance as the central priest, while Charles Durning has a smaller part as one of Sutherland's superiors. Belinda Bauer is great as the spunky reporter and has good chemistry with Sutherland, but it is ultimately wasted as her character is given little to do before altogether disappearing for the last quarter of the film (which is one of its main faults). Another instance where the film falters is that it has an even-keeled tone from beginning to end that drains the proceedings of any high suspense; the identity and motive of the killer is also unveiled too early, leaving little surprises to be had, and where the film feels like it should reach a fever pitch, it simply doesn't.

All that being said, I still found "The Rosary Murders" absorbing and extremely watchable. It is a dour, gloomy affair that works better as a mood piece than it does a thriller or mystery. Its narrative issues aside, the shadowy halls of the parish and the chilly Detroit exteriors impress a somberness on the viewer that is unusually stirring. 7/10.

"The Rosary Murders" is a poor film...with an excellent actor (Donald Sutherland) in the lead. And, because it's not very good, his talents are mostly wasted and he essentially plays a role most anyone could have played. It's sad...it should have been better.

Someone in Detroit is murdering priest and nuns. One day, the murderer comes to Father Koesler (Sutherland) and admits to the crimes. But because it was said during confession, the priest cannot tell anyone about this or the man's possible identity. At the same time, some reporter lady begins to have romantic thoughts about him. What is this poor priest to do?!

The film had one huge problem...it was far from being subtle. Again and again, the music blares out BEFORE bad things happen...ruining the suspense. Another serious problem was that the film managed to take an exciting idea...and make it drag...and drag. The pacing is just glacially slow. Additionally, some of the camerawork was just poor...and made me think, at first, that it was a quickly made TV movie. So, a combination of dullness AND a poor use of music AND poor filmwork make this film incredibly disappointing...at best. While not a terrible movie...it sure isn't one I'd rush to see.

I'm glad I can put this movie in the same boat as Peeping Tom, Henry Portrait of a Serial Killer, Angst, Untold Story, I Saw The Devil, Bedevilled...

This movie was incredibly strong. It is a movie that to me at least was never boring. It's a movie that takes time to develop, but it is a movie that will really question life. It's a really twisted dark film. Acting top-notch, including the story.

It's scary how our main villain is pure evil. He "loved" his daughter, for his own sick pleasures. Because she couldn't handle his monster behavior, she just had to end it, and nobody wanted to help her, and because his slave or toy is gone, he went out of his way to seek revenge...

I usually do not like mystery films; not a fan of Se7en or First Silence of the Lambs. But this is how it should be done. We actually watch how the story develops, we got likable characters that actually have a soul, and we actually get footage of something going on, not just an investigation.

This is an odd film. Directed by Fred Walton and cowritten by Elmore Leonard, it should be a banger but it's a pretty flat thriller.

There's an odd vibe to the film like there was a lot more filmed but didn't make the cut because there is quite a bit of the action takes places off screen. The relationship between the cops, the reporter, Donald Sutherland and Charles Durning's characters don't gel. Scenes peter out a lot. The reporter character disappears halfway through the film and reappears at the end.

Donald Sutherland is good in his role but I swear he is working off a different script to everyone else because he seems surprised of what is being said to him by the other actors much of the time.

Watchable but could've been a lot better. It feels underdeveloped/unfinished.

On June 20th of 2024, the great actor Donald Sutherland passed away, and I have a tradition to pay tribute to a deceased cinema deity by watching/reviewing two or three of their lesser known (but hopefully worthwhile) movies. Rest in peace, Mr. Sutherland, and thanks for the many great movies.

Somewhere in between the stylish suspense of Alfred Hitchcock's "I Confess" and the perverse exploitation of Pete Walker's "The Confessional Murders", we find this similarly themed but sadly obscure thriller directed by Fred Walton ("When a Stranger Calls") and co-written by Elmore Leonard ("Jackie Brown"). It's an overall very impressive film, with a compelling plot and many marvelous suspense-highlights, but it always remained underrated for some reason. Perhaps because of its skepticism towards the Catholic Church? Or because it's an intelligent serial killer thriller that came out a decade overflooding with brainless teen slashers? Or maybe because it's a 1987 film that looks and feels like a 1977 film due to gloomy picture quality and old-fashioned decors? Whatever the reason, "The Rosary Murders" deserves to be better known and loved, even if it were only for the great role and ditto performance of Donald Sutherland.

He stars as Father Bob Koesler, a priest who is well-loved and highly respected in the social middle-to-lower class of Detroit, thanks to his open-mindedness and contributions to the community. There's a serial killer active in the area who exclusively targets priest and nuns and leaves a rosary wrapped around the wrist of the victims as a trademark. When the killer comes to Koesler's church booth to confess, our priest is bound to the sacred oath of confession and sees no other option than to trace down the killer himself, based on the little bits of information that he has.

Both the script and Sutherland are downright fantastic in depicting the moral struggle of a priest versus the sanctity of confession. Does (potentially) saving the lives of colleagues justify the breaking of the most sacred oath of his religion? The killer also hinted that he holds the Catholic Church responsible for a personal trauma and therefore extracts his vengeance against priests and nuns. Should a priest interfere with that, since he is neither God, neither the police? Koesler is also a "modern" type of priest, who dares to openly question and criticize the foundations of Catholicism, unlike his strictly conservative colleague Father Nabors (Charles Durning). Will this help or block his quest to stop the murders?

The engaging script and the stellar performances, together with the depressing atmosphere and the soberly bloodless (but nevertheless macabre) kills, make "The Rosary Murders" a powerful thriller instead of a gory horror flick. That is a positive observation, mind you! Several of the suspense moments, like when Koesler breaks into the house of murderer or during his nightly visit to the cemetery, are more intense and memorable than any gory massacre could ever be.

Though not as riveting as its premise will have you believe, The Rosary Murders still manages to deliver moments of tension & suspense within a monotonously executed drama and is anchored by Donald Sutherland's measured performance as a conflicted priest. A run-of-the-mill effort at best when it comes to direction, the story is undone by its long runtime, an unnecessary subplot that goes nowhere & more but the mood & build-up before the serial killings is done well and the dilemma our protagonist faces is rendered with sincerity, along with the conflicted interpretation of Church law & teachings. However, the picture as a whole needed a tightly-edited plot to keep things interesting throughout and carries the look n feel of a TV film in more ways than one.