Perhaps the most entertaining aspect of watching The Apostate, a straight-to-cable abomination, is trying to figure out which of its many unpardonable sins is the gravest. Is it the relentless overacting by Grieco (as a hot young priest who happens to be a talented painter) and Hopper (as a serial killer who also happens to be a talented painter)? Or is it the laughable dialogue and sledgehammer-like symbolism? No matter: In the end, this portentous, pretentious bomb is truly beyond redemption.
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