The Devil Conspiracy Synopsis: The hottest biotech company in the world has discovered they can clone history’s most influential people from the dead. Now, they are auctioning clones of Michelangelo, Galileo, Vivaldi, and others for tens of millions of dollars to the world’s ultra-rich. But when they steal the Shroud of Turin and clone the DNA of Jesus Christ, all hell breaks loose.

A sinister tech company’s cloning practices unintentionally unearth a generational war between Archangel Michael and Lucifer in The Devil Conspiracy. 

Featuring one of the year’s most inventive concepts, The Devil Conspiracy boasts an infectious endearing streak in its fearless ambition despite low-budget circumstances. Director Nathan Frankowski’s feature takes me back to the early 2010s – an era where fantastical twists on religious lore took center stage with genre films like Legion, Priest, and Season of the Witch.

With The Devil Conspiracy, Frankowski and screenwriter Ed Alan concocts their own action-driven deviation on the time-honored battle between good and evil. Unfortunately, the results showcase a bargain-bin epic that gets lost amidst its noble intentions.

Some elements of The Devil Conspiracy inspire genuine goodwill. Frankowski and Alan take tremendous glee in the grandiose home run swing the duo takes at the plate here, establishing a high-concept world that takes umbrage in its pie-in-the-sky vision. The film boasts a campy, self-aware sensibility that helps morph its limited budget and ambitious concepts into fruitful attributes. On a technical level, Frankowski deserves praise for maximizing the assets he has at his disposal. Every makeshift set design and ingenious use of practical effects showcase a filmmaker who exhibited tremendous creativity throughout the production.

At the same time, The Devil Conspiracy eventually stumbles from its muddled vision. Alan’s screenplay features a few fascinating developments from its depiction of evil spiritual entities manifested back to life from cultists and corporate greed. One could piece together how the inventive premise could provide searing indictments on our zeitgeist’s deteriorating values, but Alan imbues little thematic vision in his work. As creative as the film’s nucleus is, the narrative ultimately comes across as a discombobulated series of ideas that struggle to come together. 

The Devil Conspiracy is hurt most by its distinct lack of personality. Neither the lifeless characters nor rigid dialogue exchanges personify much life into what feels like a hollow shell of a screenplay. While Frankowski tries to elevate the material with glimmers of crowdpleasing entertainment, the film’s amusements are inevitably constricted by a story that plods along without extracting genuine interest from viewers. 

The Devil Conspiracy boasts sincerity in its spirited pursuits, yet the intriguing puzzle pieces struggle to congeal in an inconsistent genre romp. 

The Devil Conspiracy opens in theaters nationwide on January 13.  

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