A troubled actor begins to unravel while shooting a horror film. His estranged daughter wonders if he's slipping back into his past addictions or if there's something more sinister at play.
The Exorcism, directed by Joshua John Miller and written by M.A. Fortin and Joshua John Miller, aims to blend the psychological intensity of horror with the reflective self-awareness of a Hollywood spoof. Featuring stars like Russell Crowe, Ryan Simpkins, and Sam Worthington, the film promises a novel approach by examining the very genre of exorcist movies. However, despite its intriguing premise, the film struggles to balance its tone and fails to deliver on its potential.
The story centres on Anthony, a washed-up actor played by Crowe, whose personal life is marred by addictions, a tragic loss, and a strained relationship with his teenage daughter, Lee. This role in the remake of a classic exorcist film represents his shot at a comeback. The stakes are high, as Anthony's real-life demons eerily mirror those of his on-screen character.
One might expect the film to explore this fascinating intersection of life and art, delving deep into Anthony's psyche and the impact of his past on his performance. However, The Exorcism merely skims the surface of this rich narrative vein, opting instead for a series of jump-scares and spooky noises that fail to sustain genuine suspense.
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The film begins on a promising note with a compelling opening scene: an actor rehearses alone on the set of the exorcist remake and meets a tragic end, evidently due to demonic possession. This sets the stage for what could have been a riveting psychological drama. However, the story quickly falters as it becomes clear that the film does not aim to establish a coherent satanic backstory or logical progression. Instead, the audience is left puzzled as characters react to supernatural events with frustratingly mundane solutions, such as recasting a lead actor contorting himself into unnatural shapes.
Russell Crowe’s performance, unfortunately, lacks the necessary energy to elevate the film. His portrayal of Anthony is subdued, which dampens the impact of his character's turmoil and the overall tension of the movie. This low-energy approach, combined with a script that does not capitalize on its intriguing premise, results in a film that feels half-hearted and disjointed.
One of the film's main shortcomings is its reliance on clichés. From eerie voices and flickering lights to predictable jump scares, The Exorcism offers little innovation. These elements are not executed with the competence required to genuinely scare or engage the audience. The dark, poorly lit scenes further detract from the viewing experience, making it difficult to follow the action or connect with the characters.
The film does touch on several relatable themes, such as family struggles and addiction. Anthony's efforts to mend his relationship with his daughter and overcome his personal demons provide moments of genuine emotion. However, these moments are fleeting and overshadowed by the film’s scattered focus. The subplot involving sexual abuse suffered by Miller in the church feels tacked on and disconnected from the main narrative of possession, rendering it an exploitative attempt to add depth to an otherwise shallow storyline.
The Exorcism tries to juggle too many themes at once—faith, religion, addiction, and family, among others. This lack of focus results in a fragmented narrative that fails to coalesce into a cohesive story. The film feels as though it was initially more ambitious, with grander ideas that were ultimately pared down, leaving behind disjointed remnants that interfere with the main plot.
One particularly glaring issue is the film's handling of physical harm and death. When such incidents occur, the absence of any police presence or medical intervention strains the film’s credibility. This oversight diminishes the realism necessary for the audience to suspend disbelief and fully immerse themselves in the story.
Despite these flaws, The Exorcism is not without merit. The production angle, involving the remake of a cursed horror film, adds an interesting layer to the otherwise mundane material. There are moments when the jump scares are effective, providing brief bursts of excitement. However, these moments are few and far between, unable to sustain the film's overall momentum.
The Exorcism is a film with an intriguing premise that ultimately falls short of its potential. It struggles to find a balance between serious horror and self-referential comedy, resulting in a disjointed and unsatisfying viewing experience.
The film’s reliance on clichés, lack of a coherent narrative, and low-energy performances further detract from its impact. While there are moments of genuine emotion and effective scares, they are overshadowed by the film’s numerous shortcomings. The Exorcism promises a unique take on the exorcist genre but delivers little beyond familiar tropes and missed opportunities.
The Exorcism was released in NZ cinemas on June 13, 2024