There have been several such films that have taken a basic assassin story and tacked on some religious window-dressing as a kind of gilded frame around the resulting bloodbath. Action master John Woo, for one example, routinely set some of his most giddy shoot ‘em ups inside of churches (giving him yet another excuse to release his beloved white doves in the process), for a satisfying, if blunt juxtaposition (see also the end of The Godfather). But the gifted Tariq (Mogul Mowgli, Ghosts of Sugar Land) isn’t going for obvious analogies or cheap ironies here.