Imagine a music video produced by the Catholic Church, and you've got the gist of Stigmata, an intriguing horror film whose style befits its subject matter about as well as Pope John Paul II personifies Ozzfest. Directed by a very Michael Bay-esque Rupert Wainwright, Stigmata contains at its core a thoughtful and fascinating story that just begs to be told in something other than three-second image shots punctuated by a soundtrack from a Smashing Pumpkins member. It is to the credit of the actors and screenwriters that the substance of the film manages to elude its garish trappings at all.

Stigmata tells the story of 23-year-old Frankie Paige (31-year-old Patricia Arquette), an atheistic Pittsburgh hairdresser who experiences a series of violent, bloody and apparently paranormal attacks. The nature of her afflictions prompts the attention of the Vatican, specifically Father Kiernan (Gabriel Byrne), a (drop-dead gorgeous) priest who examines unusual religious phenomena. Kiernan flies to Pittsburgh to investigate Frankie, who experiences not only stigmata (bodily wounds resembling those of the crucified Christ) but begins to speak ancient languages, channel strange voices, and exhibit violent behavior. This all seems very Exorcist, at first, but the film is actually far too intricate and well-thought-out to be considered a rip-off; instead, it effectively uses themes from its predecessor in new, surprisingly innovative ways.

That is, when you're not half-expecting the Papacy to start moshing to some Aramaic techno band. The greatest problem in Stigmata -- even worse than Wainwright's half-assed, haphazard direction -- is the incorrigible soundtrack by Billy Corgan, the thematically and literally one-note Smashing Pumpkins singer who should never, ever score a movie again. Arquette is terrific as Frankie, and she brings her character a real emotional resonance, one I would have liked to see explored rather than blocked out by a crass, annoying, pseudo-alternative soundtrack. Her attacks could have been horrifying on a Regan MacNeil level; instead, they just sport gore and bloodshed like a fashion accessory.

However, the direction does contain a few moments of real creativity, the best of which take modern, familiar images (a woman in a raincoat, the hanging straps on a subway) and combine them with classic Catholic iconography (the Virgin Mary, the crucifixion). Wainwright uses something called subtlety to get this effect across, and it's a tactic he should investigate more often. Stripped of its pretentious MTV trappings, Stigmata is a smart, scary movie that is wonderfully acted and admirable in its attempts to capture dark religious themes. And while its superficial execution keeps the film from reaching its full potential, it still stands as one of the year's better horror entries.

DROOL FACTOR: Oh my God Gabriel Byrne. The man just keeps looking better and better, and the priest look does wonders for him. Completely droolworthy. Can't wait to see what he does as Satan in End of Days. Oh, and be not afraid of the credits -- Melrose Place's Patrick Muldoon is in it for only about three seconds.

GROSS-OUT FACTOR: See title.

STRONG CHICK FACTOR: Arquette is terrific in this role, and her character is tough, independent and surprisingly multi-faceted. This was an interesting take on the usual horror movie female possession victims, who tend to be either children (The Exorcist) or vulnerable in some other gender-related way (Rosemary's Baby's pregnant protagonist). Stigmata is a chick flick in disguise.

-- Sarah Kendzior