National Catholic Register portal (October 2, 2026) publishes a glowing review of the docudrama *Adore Him: He Is Here*, produced by the conciliar sect’s media apparatus (Runaway Planet Pictures) and featuring a roster of its most prominent “clerics” and “lay leaders.” The film, scheduled for theatrical release October 4–8, 2026, purports to demonstrate the “power of Eucharistic adoration” through sentimental testimonials, dramatized biblical scenes, and commentary from figures such as “Deacon” Steve Greco, Marian “Fathers” Chris Alar and Donald Calloway, “Archbishop” Paul Coakley, “Bishops” Kevin Vann and Timothy Freyer, and “Msgr.” Jason Gray. The review, penned by staff writer Joseph Pronechen, uncritically amplifies the film’s modernist narrative: that subjective “encounters,” emotional “peace,” and personal “transformation” constitute the essence of Eucharistic devotion. This article is not a review but a press release for the neo-church’s latest pastoral marketing campaign, designed to anesthetize the faithful with religious sentimentality while the Unbloody Sacrifice of Calvary is dismantled before their eyes.
The Invalidity of the Novus Ordo “Eucharist” Renders All Such “Adoration” Idolatry
The fundamental, insurmountable reality that the Register article and the film it promotes studiously ignore is that the conciliar sect possesses no valid priesthood, no valid Mass, and no valid Eucharist. The “consecration” in the Novus Ordo Missae — fabricated by the Freemason Bugnini and promulgated by the antipope Paul VI in 1969 — lacks the form, intention, and sacramental causality required by the Council of Trent (Session XXII, Can. 1-9). As Pope Pius XII taught in Mediator Dei (1947), the sacrifice of the altar is identical with the sacrifice of the Cross; any rite that obscures the propitiatory nature of the Mass, suppresses the Roman Canon, or introduces a “memorial” theology is a profanation, not a sacrament.
Therefore, the “Host” in the monstrance paraded through Midtown Manhattan, the “Blessed Sacrament” before which the Damascus campers weep, and the “Eucharist” that “Father” Calloway claims converted him — are bread and nothing more. To adore them is idolatria (idolatry), a violation of the First Commandment. St. Thomas Aquinas warns: “Adorare quod non est Deus, est idolatria” (To adore what is not God is idolatry) (Summa Theologiae II-II, q. 94, a. 1). The film’s entire premise — that “Jesus is here” in the Novus Ordo “tabernacle” — is a diabolical lie that leads souls to worship a creature (bread) under the pretense of worshiping the Creator.
A Gallery of Invalid “Clerics” and False “Saints”
The article reads like a who’s who of the conciliar sect’s propaganda machine. Every figure cited lacks valid orders or jurisdiction:
- “Deacon” Steve Greco — “ordained” in the invalid post-conciliar rite of 1972; producer of the 2025 Jesus Thirsts documentary, another exercise in emotional manipulation.
- Marian “Fathers” Chris Alar and Donald Calloway — members of a religious order in full communion with the antipope; their “conversion stories” are marketing tools for the Divine Mercy devotion (itself a private revelation promoted by the false “saint” Faustina Kowalska, whose writings were condemned by the Holy Office in 1959 and placed on the Index Librorum Prohibitorum).
- “Archbishop” Paul Coakley, “Bishops” Kevin Vann and Timothy Freyer — appointees of the usurpers Benedict XVI, Francis, and Leo XIV; they possess no episcopal character because the post-conciliar episcopal consecration rite (1968) is invalid (Sacramentum Ordinis, 1947, violated by Paul VI’s 1968 reform).
- “Msgr.” Jason Gray — executive director of the “Archbishop Fulton Sheen Foundation,” promoting the beatification of a man who died in 1979 fully immersed in the conciliar apostasy, never having publicly resisted the Novus Ordo or the false ecumenism of Vatican II.
The film also invokes “St.” Teresa of Calcutta (canonized by the antipope Francis in 2016) and “Blessed” Fulton Sheen (beatified by Francis in 2019). These “canonizations” are null and void because they proceed from a manifest heretic who lacks the Petrine charism. As the Bull Cum ex Apostolatus Officio (Paul IV, 1559) declares: a heretic elevated to the papacy is “null, void, and of no effect” — and all his acts, including “canonizations,” share that nullity. To cite these false saints as authorities is to build on sand.
Subjectivism and the “Encounter” Heresy: Modernist Theology in Cinematic Form
The film’s methodology is quintessentially modernist: experience replaces dogma, sentiment replaces faith, the “encounter” replaces the Sacrifice. The review highlights testimonials: a “skeptical young woman,” Barbara Heil (“did not grow up Christian at all”), “Father” Alar’s car breakdown, “Father” Calloway’s one-night reading, campers “hearing words” and “feeling peace.” This is the hermeneutic of experience condemned by St. Pius X in Pascendi Dominici Gregis (1907): the Modernists “make the religious sense the foundation of faith… and thus they attribute to it the value of a religious proof” (§3).
The “experts” in the film explicitly reduce adoration to subjective silence: “Just remain in silence. Just be in God’s presence” (Alar); “God doesn’t shout. He only whispers” (Alar); “start with five minutes of silence, then build to 10” (Freyer). This is Protestantized “quiet time,” not Catholic adoration. True Eucharistic adoration flows from the Sacrifice of the Mass and is ordered to the glory of God and the propitiation for sins — not to “hearing God speak in the heart” or “feeling peace.” The Curé of Ars, St. John Vianney, whom Coakley cites, spent hours in adoration in reparation for sins and for the conversion of sinners — not for “personal encounter” or “wellness.”
Dramatized Anachronisms and the Corruption of Sacred History
The review admits the film contains “two anachronisms in dialogue” in its dramatized biblical scenes — a euphemism for historical falsification. The scenes described — nomads questioning the Ark, travelers meeting Mary and Joseph — are fabricated narratives designed to impose a modernist “journey” theology onto Scripture. The Ark of the Covenant was not a “box” in which God “hid”; it was the throne of His Shekinah glory, prefiguring the real presence of Christ in the Eucharist — a presence that requires valid consecration by a valid priest. To suggest Mary’s visit to Elizabeth was a “Eucharistic procession” is a pious analogy, not a historical fact; to dramatize it as a template for modern “processions” with invalid Hosts is sacrilegious theater.
The “Eucharistic Revival”: A Pastoral Strategy for a Dying Sect
This film is a component of the USCCB’s “National Eucharistic Revival” (2022–2025), a desperate attempt to stem the hemorrhage of Novus Ordo “Catholics” who no longer believe in the Real Presence — because their “bishops” and “priests” have spent sixty years denying it by word (ambiguous catechesis) and deed (Communion in the hand, altar girls, lay “ministers,” facing the people). The “revival” does not restore the Traditional Latin Mass (the only rite that visibly safeguards Eucharistic faith); it produces movies, testimonials, and “processions” with invalid species. As Pius XI taught in Quas Primas (1925): “When God and Jesus Christ were removed from laws and states… the foundations of that authority were destroyed”. So too, when the True Mass is removed from the altar, the foundation of Eucharistic faith is destroyed — and no amount of cinematic sentimentality can rebuild it.
Silence on Sin, Judgment, and the Necessity of the True Church
The gravest omission in the film and the review is total silence on sin, repentance, the Four Last Things, and the necessity of the Catholic Church for salvation. Not a word on Extra Ecclesiam Nulla Salus, on the state of grace required for fruitful adoration, on the reality of Hell, on the Social Kingship of Christ over nations. The “peace” offered is psychological comfort, not supernatural grace. The “love” proclaimed is sentimental humanitarianism, not caritas rooted in truth. This is the cult of man condemned by Pius XI: a religion that “equated the Christian religion with other false religions” and “subordinated it to secular power” (Quas Primas, §24). The film’s message: come as you are, feel something, stay as you are — the perfect spirituality for the abomination of desolation standing in the holy place (Matt. 24:15).
Conclusion: A Counterfeit Devotion for a Counterfeit Church
Adore Him: He Is Here is not a Catholic film. It is a propaganda product of the paramasonic structure occupying the Vatican, designed to legitimize its invalid sacraments, its false hierarchy, and its anthropocentric religion. The National Catholic Register — itself an organ of the conciliar sect — functions as its marketing department. Faithful Catholics, adhering to the immutable Tradition of the Church before 1958, must reject this film, its message, and its messengers. True Eucharistic adoration exists only where the True Mass is offered by validly ordained priests in communion with the true successors of the Apostles — not in the theaters of the neo-church, but in the chapels of the resistance, where the Unbloody Sacrifice of Calvary is still offered ad majorem Dei gloriam and the Host in the monstrance is truly Deus absconditus, the King of Kings before whom every knee must bend — in caelis, in terra, et infernorum (Phil. 2:10).
Source:
‘Adore Him: He Is Here’: New Movie Shows How Eucharistic Adoration Changes Lives (ncregister.com)
Date: 02.10.2026