I watched it to the end, which is more than I can say for some films. My major gripe, other than that California does not look at all like Massachusetts, was the poor plotting and the one-note characters.The priest himself could have asked for confession and advice from his superior about what to do.The police work by the obsessed Catholic School hating detective was so abysmal that even a fresh out of law school public defender would have had the case thrown out of court. For example, Luke had been caught with a locker full of drugs and porn. Why did the priest who copped him not say so to the detective, and why did the detective not ask him where he had obtained it. Why did the priest not tell the detective right up front that Luke was being expelled for being caught with illegal drugs. This would have revealed that Luke would dress as a priest to get drugs without prescriptions from the pharmacy. Instead we got priests keeping their mouths shut and a detective determined to find a priest guilty and ignore all other evidence. Soap opera plotting. It would not have surprised me if Luke had turned out to be the secret son of the detective and the mother superior.As a starter film this was OK, after all, everyone has to begin somewhere, but it could have done with a little tightening up.

This B-Movie gem is the first leading role for Chris Pine, and it may be his best role to date. Pine plays Luther, the "bad" kid at Catholic school who can get you anything you want. He is however caught and along with his roommate, he is quickly booted out of school. Luther becomes obsessed with finding out who turned him in and when he does, the boy mysterious turns up dead. At a similar time, someone confesses to Priest Michael Kelly, who now knows who and why, but can't say anything. As a result Kelly quickly becomes a suspect leading up to a tremendous finally. Pine, best known as the "new" Captain Kirk was just fantastic. It's a shame this is a B-Movie, because if it had been a major release, he would have gained the recognition he deserves a lot sooner. This film is tremendous, I saw it as a modern day Shakespearean tragedy. It has life, death, religion, intrigue, and much more. It's a great film that fell way under the radar!

Why wouldn't the priest at least say that someone that committed the crime confessed to him, therefore he can't reveal the identity. Instead he keeps his mouth shut and becomes a suspect. Pretty far-fetched if you ask me. Also why doesn't the pries encourages the boy to turn himself in...it would have been a better plot. Not a very believable movie. I was disappointed with the ending. This is not a movie I would recommend, unless you don't have anything else to watch. The character for the policeman is not very well developed either. In addition, the boy who was witness to the murder (accident really) is not very smart either. He should have talked to the priest not as a confession, this way giving the priest a way out form the confession rule.

Jonathan Myers makes an impressive film debut as writer/director of CONFESSION, a very well done film that unfortunately went direct to DVD. Though the script is at times a bit clumsy and the control over the arch of emotion from the actors could be tighter, the film succeeds as a thriller, beautifully capturing the mysteries of the Catholic traditions.In a private, expensive Catholic Prep School Luther Scott (Chris Pine) is a business minded renegade, supplying the student body with booze, porn movies, and other off limits paraphernalia. His hesitant roommate Robbie (Lukas Behnken) assists him but on a turnkey night their partying dorm is visited by the headmaster Father Thomas Parker (Bruce Davison) with a potential rich Senator's student son: the party is over. The boys are all subjected to questioning as to the source of the contraband and one student informs on Luther and Robbie and in a fit of anger Luther pushes the student to his death while disguised/dressed as a priest. Luther makes Robbie promise to keep their secret and Luther 'absolves' himself in the confessional where he admits his murderous act to the kind Father Michael Kelly (Cameron Daddo). Obeying the rules that words said in confessional must remain secret, Father Kelly becomes suspect as the perpetrator and elects to remain silent. The manner in which Luther and Robbie cope with the arrest of an innocent man and the resolution of the crime provide the exciting if a bit predictable conclusion to the story.The cast is variable but generally fine, especially Australian actor Cameron Daddo and young Chris Pine, allowing us to understand the rites of the Church without condescension. The cinematography is moodily atmospheric and the musical score by Ryan Shore admixes ecclesiastic tones with contemporary mood music. Given that this is a first film for Myers it is one worth examining for the potential it carries. Grady Harp