Plot

Gad Saad reviews the film "Conclave," expressing disappointment with its ending, which he views as compromised by "woke" themes.

Gad Saad reviews the film "Conclave," initially captivated by its portrayal of the Catholic Church's secretive process for selecting a Pope, enhanced by strong performances from John Lithgow, Stanley Tucci, and Ralph Fiennes. Saad appreciates the film's aesthetic elements and the dramatic group dynamics within the College of Cardinals, comparing them to "12 Angry Men." However, he feels the final 20 minutes detract from the experience by introducing "woke" themes, including a plot twist involving an intersex cardinal elected as Pope. He concludes by warning viewers against what he describes as moralizing in contemporary films.—J. Spurlin

Gad Saad provides a detailed review of the film "Conclave," which follows the secretive process of choosing a new Pope, a subject Saad finds fascinating due to its unique intersection of history, tradition, and secrecy. Saad, who holds a background in decision-making psychology, was initially intrigued by the film's portrayal of the power dynamics among the College of Cardinals, comparing their deliberations to those in the classic "12 Angry Men." He praises the casting and aesthetics, noting the beauty of the cinematic visuals, especially the imagery of cardinals in their ceremonial red robes. According to Saad, the film skillfully captures the psychological tensions between the cardinals, which includes power plays, ambition, and manipulation despite their religious roles.

In the final act, however, Saad finds the film derailed by "woke" messages, including themes of religious tolerance and gender identity. He describes a climactic moment in which one cardinal denounces an apparent Islamic terror attack as a holy war against the Church, while another, who ultimately becomes Pope, calls for tolerance and peace. Saad notes that this character, who is revealed to be intersex, was previously unaware of his own gender background and had even contemplated leaving his religious position due to it. Saad expresses dissatisfaction with these elements, feeling that the film shifts from exploring church rituals to a form of moral instruction, which he views as forced and unnecessary.

Concluding his review, Saad laments the broader trend in modern cinema, which he feels often imposes progressive ideals onto audiences, even in settings that traditionally reflect historic values. He argues that this pattern detracts from art, likening it to the insertion of social messaging in areas like sports and advertising. Saad warns viewers who are sensitive to such themes to avoid the film, as he believes "Conclave" ultimately sacrifices its narrative integrity for a modern moral agenda.