Is the teenage girl under suspicion actually demon-possessed or merely the victim of poor home schooling? For a while it could swing either way, and the tension created by this approach is entertaining, even philosophical. For a while.

Clearly excited about the prospect of “presenting” a movie rather than directing or starring in it, producer Eli Roth went on to explain, at a recent press junket, how the production was guided by an overarching principle: it has to feel real.

Brooks takes a good, long look at the hypocrisy that worms its way into even the most pious of societies, and emerges with a powerful drama about the temptations swarming around religious institutions, American evangelicalism in particular.

Saving Sarah Cain was made by essentially the same team that brought The Last Sin Eater to screens last February. Not quite as successful as that homespun period piece, Sarah Cain is nevertheless earnest and straightforward and full of tender exchanges.

Kreuzpaintner demonstrates no affection for his characters as he places them in phony suspense scenarios that exist solely for shock value. One odious example: a victim manages to break free from her captors only to be struck dead by an oncoming car.

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