CONTAINS SOME SPOILERS.
Yes, there is a full stop in the title of the first film, but in truth some errant punctuation marks are the least of these movies' problems. In slasher movies with no slash and frankly insufficient stalk, performances barely this side of "speaking out loud", flat digital photography that is frequently too poorly lit to make anything out, montages of absolutely nothing that go nowhere and post-credits blooper reels, it's hard to care that much about the exact title in the opening credits beyond just noting it for the record.
Pray. is a bog-standard maniac-on-the-loose horror with Christian overtones (meaning there's no blood, sex or swearing) in which a young Christian woman is vaguely stalked by a psycho whose only noticeable characteristics are a chain tattoo and the inevitable plastic mask. She and some friends attend a Christian rock festival, and get to hang out with the band afterwards (absolutely nothing goes on) but later on there might be someone hiding in her room. That someone has already abducted one woman, and he might be watching her house the next day while she's out at Spirit Day. Eventually he gets to do his Michael Myers impression on her when she somehow gets locked into the local mall.
Pray. absolutely isn't any good at all: it drags at a mere 68 minutes and even then could have lost maybe twenty minutes of nothing much happening, including the entire Spirit Day sequence which is just video coverage of church activities. To its credit, the film does pull off one effective Boo! scare (well, it made me jump at least, even if it turns out to be a red herring), but it ends on a bizarre note in which The Lord appears to have performed a genuine miracle to help her escape, while leaving it unexplored as to why He put her in that position in the first place. As for the killer, he's left a nameless blank: we never find out what he wants, where he's from, or what the clearly significant chain tattoo represents.
Some of that is saved for Pray 2: The Woods, which has enough plot material for three films yet can't seem to satisfactorily fill one. The first film's abductee (cheekily named Laurie Curtis) finds herself in a woodland storage shed, from which she escapes and becomes a minor celebrity on the public access talk show circuit plugging her memoir. But the psycho, revealed as having gone mad after five years in prison for beating up his girlfriend (he didn't, she lied), is on her trail again, though failing to do much more than break into her house and then go on the run from the cops and FBI through the woods - the exact same woods where the first film's young Christian group are out on a camping and bible study trip. Meanwhile a trio of comedy cops, one with a false moustache and one wearing a shirt that boasts the production company logo, sit outside in a van, jabbering endlessly in scenes that must have been improvised because no actual human would ever have typed all this drivel out.
Furthering the unaccountable nods to Halloween (which also includes scary pumpkin faces in the dead slow opening credits) the maniac is listed as Shape in the cast list for both (and Tyler in the second). The first film also features a shop called Kruger's; it's a real store which is thanked in the end credits, but might have been picked less for that genre nod than the fact that Kruger is the surname of the editor/cinematographer/co-writer/co-producer. But as is so often the case, dropping a few names from classic horrors, even coincidentally, doesn't make up for a total absence of skill and style. Music is very badly used: both films' scores are culled from horror veteran Richard Band's soundtrack library service but they achieve no effect whatsoever.
Staggeringly, Pray 3: The Storm is almost decent. It's still not any good, it's saddled with terrible non-performances, bible quotes and prayers, and a songtrack full of faith-based soft rock numbers (from a band called Dutton) and it struggles to make it to the hour mark, but in the intervening years someone has clearly sat the auteurs down with a bunch of actual horror movies and shown them some simple suspense techniques they could adopt. A masked stalker, who may or may not be the same guy from the first two films, is on the trail of Laurie Curtis yet again, as she and her husband leave the kids at home with a couple of teenage videoblogger idiots. They spend most of the evening watching the first Pray. film on DVD and are too dumb to notice the wide open window right next to them.
Photography is leagues ahead of the first two instalments, possibly due to being designed for 3D (!) and, despite clearly being intended for home viewing, being framed in 2.35 widescreen. The film also manages some neat use of the security cameras in the Curtis house and doesn't overuse the night-vision cellphone gimmick in the manner of the worst of found footage. They also manage to slip in a Friday The 13th reference, and the completely useless stalker finally gets down to scaring the bejaysus out of a couple of airheads. But the lead cop's name badge has the actor's name on it, the husband wears a T-shirt advertising one of the director's earlier films, the TV news channel is actually called Faux News, and towards the end the film doesn't seem to know whether the power has been restored or not and therefore how dark things are supposed to be.
Inevitably, it has an open ending setting things up for a fourth instalment, but Pray 3 was made back in 2012 and there's no indication that the most bloodless horror franchise of all time is ripe for a continuation. All three films were directed by (Dr) Matt Mitchell, who also takes a substantial role as a pastor in the second one; he's also combined Pray. and Pray 2 to form Pray 2.5, which I haven't bothered to watch, even for the sake of my fast-fading completism. None of them are any good, but the third one is closest to "not terrible" and the closest to what the horror audience would generally recognise as a horror movie (let alone a good horror movie). Being of faith - faith of any stripe - doesn't get you a free pass for making terrible movies and it's only the third chunk of The Laurie Curtis Trilogy that picks up as a borderline entertaining horror, despite its legions of faults. Should you wish to, they're all on Amazon Prime.