Review: “Conclave” is agreeably thrilling

By Arman Saxena     1/28/25 11:27pm

Score: ★★★½

The movie your dad probably insisted you watch over break, “Conclave” is a political-religious thriller that never quite rises to greatness, yet remains thoroughly absorbing from first frame to last. Adapted from Robert Harris’s novel and helmed by “All Quiet on the Western Front” director Edward Berger, the film scored an impressive eight Oscar nominations on Thursday morning, including Best Picture, Best Actor and a likely win for Best Adapted Screenplay. It’s not hard to see why: “Conclave” weds a first-rate ensemble to sumptuous visuals, spinning Vatican intrigue into a tightly crafted spectacle that, for better or worse, stops short of any deeper revelations. 

The premise is straightforward yet ripe for drama: the Pope has died under mysterious circumstances, and it falls to the College of Cardinals to elect his successor in a top-secret conclave. We see them sequestered in grand, meticulously designed corridors — built entirely on soundstages rather than in the actual Vatican — giving the entire film a gorgeously self-contained quality. 

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Cinematographer Stéphane Fontaine deserves every bit of praise for conjuring images that recall Italian Baroque art. Whether capturing robed clergymen strolling past Caravaggio-esque beams of light or arranging a breathtaking overhead shot of cardinals in red robes carrying white umbrellas across the lawn, Fontaine’s lens transforms each set into an oil painting come to life. Alongside two-time Oscar-nominated production designer Suzie Davies, Berger has shaped a closed world of secrets, jealousy and power grabs that also happens to be visually exquisite. 

As an ensemble piece, “Conclave” features no weak links. Ralph Fiennes leads as Cardinal Lawrence, the dutiful, introspective dean tasked with overseeing the conclave despite his mounting crisis of faith. His performance anchors the movie in earnestness, even as the surrounding cardinals veer into cartoonish squabbling. Among the politicking priests, Stanley Tucci’s Cardinal Bellini represents the liberal establishment’s favored pick: suave, media-friendly and quietly ambitious. Yet the scene-stealer is Sergio Castellitto as Cardinal Tedesco, whose blustery, anti-immigrant rhetoric channels an unsettling cocktail of contemporary right-wing populists. Castellitto chews the scenery as though he’s ready to pound the table at any moment, and it’s impossible to ignore his presence in any shot he graces. 

The story unfolds in a talky, whodunit-like rhythm, punctuated by the repeated pomp and ritual of voting. Whispers of scandal swirl amid the candlelit corridors, each round of voting offering a new piece of intrigue. Though the final outcome often feels telegraphed, there’s unbridled fun in getting there. Berger uses deft camerawork and an ultimately grating score by Volker Bertelmann to keep the tension high, while Isabella Rossellini pops up intermittently as the fearsome Sister Agnes to remind the cardinals (and the audience) that politics doesn’t outweigh piety. That tension between religious duty and worldly ambition is Conclave’s most interesting theme — an occasionally silly dynamic that the entire ensemble sells with thunderous, breathless fervor. 

Less successful is the movie’s broader political allegory. From its release date timed near election season to dialogue hinting at power-hungry factions and populist takeovers, Conclave signals its intentions to reflect modern Western politics. Yet the gestures at deeper commentary are surprisingly timid. The film boils its moral down to “be wary of those who covet power, and trust that people will do the right thing,” without meaningfully grappling with the complexities of faith, institutions or modern populism. Those seeking a scathing or provocative critique of church or state will come away disappointed. 

In the end, it’s more a well-dressed, liberal fantasy that soothes viewers with the idea that the righteous ultimately prevail — a neat reassurance the film can’t fully justify. Yet even if its political insights feel thin, “Conclave” offers a thoroughly entertaining ride on a purely cinematic level. It’s a quintessential “dad movie” not just because it centers on a venerable institution caught in moral crisis, but because it’s shot with old-school flair and performed by top-tier actors chewing on meaty roles. Its craftsmanship — from production design to editing — is so strong that it’s easy to overlook the rather simple moral at its core. And for a film that builds toward a final twist better suited to Agatha Christie than the Vatican, “Conclave” maintains enough dramatic heft to keep you invested in the conclusion. 

Berger has conjured a handsome, polished thriller that thrives on spectacle. It might not offer the most profound of revelations, but it’s never dull. For fans of strong ensembles, Oscar-friendly pageantry and the simple satisfaction of watching some of the finest actors alive outmaneuver each other for two hours, “Conclave” arrives as a worthy distraction, if not quite the grand statement it aspires to be. If nothing else, it’ll give you and your dad plenty to debate over who deserved that papal crown — and that alone may be enough to justify its place in this year’s Oscar race.

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