The soundtrack to the upcoming psychological thriller film Mother Mary is presented here as a stand-alone album as well as a companion piece to the film. Directed by David Lowery, Mother Mary tells a twisted, co-dependent tale of a pop diva named Mother Mary, played by Oscar-winning actress Anne Hathaway. The character of Mother Mary – a performer who employs elements of theatre and performance art in her work – is a clear amalgam of Lady Gaga and Madonna.

When creating the character, Lowery tapped into the kind of parasocial relationships that fans of pop superstars like Madonna, Taylor Swift or Beyoncé have; these famous and talented women inspire their fans into believing that they somehow have forged personal connections with these celebrities. The central relationship in Mother Mary is between the pop star and her costumer, an estranged friend from her past. What transpires is a deeply disturbing, dark, and twisted psychodrama between the two characters.

Released to coincide with the film’s bow is the soundtrack to the film. Similarly to other musical dramas like Judy, Vox Lux, and A Complete Unknown, which have the leads record their own vocals for the film, Mother Mary: Greatest Hits features vocal performances by Hathaway. This detail should not be met with too much scepticism or wariness, as the actress has proven several times to be a gifted singer, most notably with her Oscar-winning turn in Tom Hooper’s 2012 musical melodrama Les Misérables, her tear-stained and anguished rendition of the musical’s anthem “I Dreamed a Dream” a highlight.

She has also recorded sporadically throughout her career, appearing on the soundtracks of her films like Ella Enchanted, Hoodwinked, Rio, and its sequel, Rio 2. Perhaps her heaviest singing gig was duetting with Barbra Streisand on “At The Ballet” from A Chorus Line from the legendary diva’s 2016 duets album. As a singer, Hathaway has a pleasant, pretty voice with charming notes. She is also somewhat of a theatre kid and therefore carries herself as a vocalist with the competent, professional skill of a hardworking pro.

On Mother Mary: Greatest Hits channels her inner Madonna on a set of original songs penned by heavy hitters like Jack Antonoff, Charli XCX, and FKA Twigs (Hathaway contributes to some of the songwriting, as well). Matching the dark, brooding tone of the film, this album features high-octane dance numbers, but none reach for a delirious disco-induced euphoria. Instead, these songs sound moody and intense, despite the pounding drum machines, swirling synths, and ethereal vocals. For most of the songs, Hathaway’s strong—if somewhat blank—voice is awash in studio sheen and gloss. Conversely, on the album’s sole ballad, “Cut Ties,” Hathaway’s vocals sound eerily like American Life-era Madonna.

The best song is the first track, “Holy Spirit,” a fantastic co-writing collaboration between Antonoff, Charli XCX, George Daniel, and Hathaway. Referencing much of the holy and sacred allusion and imagery in Madonna’s music, “Holy Spirit” is a driving, energetic song with an incredibly catchy chorus and a muscular vocal performance by the actress. Similarly excellent is the album’s first single, “Burial,” which sports gorgeous, clipped singing by Hathaway.

FKA Twigs contributes to the record with the new wave-inspired “My Mouth Is Lonely For You,” which captures the swoony, melancholic sound of the synth-pop balladeers like Erasure and the Pet Shop Boys. Hathaway injects just enough yearning to give bleak and hopeless lines like “Bad conversation, cigarettes / Words you told me, empty threats / Chewing gum, I’m so empty” a heart-stabbing urgency. (The bit about “chewing gum” could also be an inside joke, referencing Hathaway’s co-star Michaela Coel’s self-penned BBC sitcom Chewing Gum.)

Not all of the album works without the context of the film. Songs like “Blue Flame” and “Dark Candle” push Hathaway into a synth-driven art-pop that would benefit from a more distinct and singular vocalist. The uncanny, creeping sound needs the visuals from the film—the songs aren’t strong enough to stand on their own.

And that is the ultimate question when these kinds of albums are released. Are they strong enough to merit listening without watching the films? Despite earning a Grammy nomination and an Oscar win, Renée Zellweger’s imitation of Judy Garland on Judy has limited appeal; as does Natalie Portman’s singing on Vox Lux; Timothée Chalamet’s work on the Bob Dylan-inspired A Complete Unknown is dedicated enough that the soundtrack is a compelling listen.

Mother Mary: Greatest Hits is good—and Anne Hathaway draws listeners in—but it probably won’t have the legs to stand on its own.

Rating: B

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