Colum Eastwood’s “The Morrigan”—a feature-length expansion of his 2015 short—centers on the formidable Irish Celtic goddess of the same name. Deviating significantly from its predecessor, the film follows Dr. Fiona Scott (Saffron Burrows), an archaeologist convinced that the deity was actually a human queen maligned by a burgeoning Christian patriarchy. While the premise drips with potential, what unfolds is a largely run-of-the-mill supernatural possession flick.The film opens 1,500 years ago with a group of pagan women chanting around a bonfire, who are systematically slaughtered by cloaked men bearing crosses. This serves as the catalyst for Fiona’s career; she believes the vengeful goddess narrative was a lie constructed by men to erase a powerful woman. It’s a compelling hook that Fiona uses to pitch an excavation in a remote Irish tunnel system.The movie quickly establishes a theme of systemic misogyny. Fiona is openly ridiculed by a panel of male academics who approve her dig but appoint the dismissive Jonathan Horner (Jonathan Forbes) as lead, relegating her to an assistant role. It’s an intriguing setup, yet the film frustratingly abandons this connective tissue. While the theme resurfaces throughout, it never evolves into a meaningful commentary or fuels the horror in the second half.Once excavation begins, the cast expands to include Fiona’s rebellious daughter, Lily (Emily Flain); the landowner Malachy (Toby Stephens); his son, Sean (Art Parkinson); and the archaeological intern, Conor (Michael Shea). Fiona wastes no time exploring the tunnels, and her research and intuition quickly lead her to a tunnel that opens into a hidden burial chamber containing a casket. The recovered casket is moved to Malachy’s estate, and here the film shifts into your standard supernatural possession fare. With the casket unearthed and waiting at the residence, The Morrigan is able to wield her influence, eventually possessing Lily and putting the household in peril.From here, the narrative follows a predictable path. The Morrigan wreaks havoc with little prejudice, and because the character development feels thin, it becomes difficult to root for the survivors. By the final act, I found myself almost siding with the goddess just to liven things up.It is unfortunate that such rich lore and strong thematic seeds never truly bloom. I would have loved to see The Morrigan’s motives tied directly to the misogyny established in the first act. Instead, the two halves of the film feel like they belong to different movies.While it may not be enough to entice a watch, there are a few high points in the film. Filming on location in Northern Ireland provides a beautiful authenticity that elevates the visuals. James Everett’s score is atmospheric and effective, and while the CGI is occasionally distracting, the practical effects are executed quite well.“The Morrigan” boasts a fascinating scholarly hook, but it ultimately loses its way, settling for familiar tropes over fresh storytelling.“The Morrigan” will debut on Digital and Video on Demand on February 3, 2026.