Beginning with a stylised animated sequence (the material itself is based on a series of Japanese graphic novels) which reconfigures earth’s history and presents a place where vampires and humans have supposedly waged war against each other for centuries, we’re then introduced to a post-apocalyptic world and a rigid, theocratic state governed by men of the cloth and preceded over by Monsignor Orelas (Christopher Plummer, adding his usual gravitas to proceedings). The surviving humans here are housed in a huge walled city, where the inhabitants line up for a daily routine, ready to divulge their sins in huge metallic, industrial-looking confession booths. Priest (Paul Bettany), a former warrior in those battles with the undead, is forced out of retirement (much to the disapproval of his superiors who believe that such an act suggests treason towards the church) to save his 18 year-old niece who has been kidnapped by a pack of remaining vampires in the outside desert world.
Priest then hooks up with her boyfriend and local sheriff (Cam Gigandet) and a former member of his team who has been charged with tracking him down (Maggie Q). Together they embark on a rescue mission and quest to take down the mutated vampiric horde, who are led by a former padre and member of Bettany’s crew who has now pledged his allegiance to the dark side (Karl Urban).
We’re also presented with a fantastic-looking fantasy world, which is an intriguing mix of western iconography and archetypes (there’s even a travelling medicine man, played by genre fave Brad Dourif), alongside a more recognisable dystopian futuristic landscape. A powerful and sweeping score by Christopher Young really helps to build an epic sense throughout too, and the sight of Priest and his companions roaring through a vast and desolate desert on huge enhanced motorcycles, which look like they’ve been drafted in from Mega City One (the film shamelessly steals from everything and anywhere it can) is one of the many thrilling sights on offer.
Another surprisingly successful addition here is the 3D work – achieved via the post-conversion process. Where a film like Thor benefits little from the enhancement (once again making you question the studio’s unethical and exploitative handling of the medium), the quality on display here is much superior, and many should be fooled into thinking that the film was shot using that format.
Whatever the box office outcome, the makers appear to be wholly confident they have a hit on their hands. The film sets up the intended further escapades of Bettany & Co in such a self-assured way, you half expect to be greeted with a title card at the end which reads ‘short intermission’ before being thrust back into the action once again.
[Rating:3/5]