Joshua John Miller’s The Exorcism sets out to conjure the same dread and depth as William Friedkin’s 1973 classic The Exorcist. But instead of resurrecting the devilish brilliance of its predecessor, it stumbles into a hellishly parodic misstep, saved from total damnation only by the over-the-top desperation of Russell Crowe.
The premise of The Exorcism is an irresistible concoction of meta-textual musings and genre tropes, attempting to exorcise its own demons by referencing The Exorcist at every turn. The story follows Anthony Miller (Crowe), a washed-up actor trying to claw his way back to relevance by playing a priest in a film-within-a-film, artlessly dubbed, “The Georgetown Project” (a not-so-subtle homage to the town in which The Exorcist was set).
The Exorcism (Englsih)
It’s the very same creative choice that indulges in self-referential nods without establishing its own identity. The opening scenes are steeped in iconic imagery, from the fog-covered Georgetown townhouse to the infamous “cold room” where actors’ breath condenses in the frigid air. These elements, intended as clever homages, came across as heavy-handed winks as if the film is constantly nudging you in the ribs, whispering, “Remember this? Wasn’t this scary?”. Miller’s connection to the material, as the son of Jason Miller (Father Karras in The Exorcist), makes things intriguing but fails to translate into his work and quite honestly feels like an exercise in nepotism gone awry
In a frustrating case of déjà vu, Crowe’s exaggerated performance in the film mirrors his equally baffling turn as a demon-exorcising priest in last year’s The Pope’s Exorcist. His portrayal of Anthony is the film’s most potent asset, albeit one that struggles to lift the weight of a directionless script. The film’s beleaguered anchor gives a performance that’s both committed and campy, teetering between genuine pathos and unintended hilarity, managing to keep the film from completely unravelling into farce.
Russel Crowe as Anthony Miller in a still from ‘The Exorcism’
The supporting cast does little to buoy the sinking ship; Ryan Simpkins as Anthony’s estranged daughter Lee and Adam Goldberg as the insufferable director Peter offer performances that are more placeholders than pivotal. Simpkins’ character, weighed down by unresolved daddy issues, gets lost in the shuffle. Goldberg’s Peter, a cardboard cutout of a megalomaniac filmmaker, lacks the bite to make his confrontations with Anthony anything more than mildly irritating.
David Hyde Pierce, however, delivers a standout performance as a reserved consulting priest. His character is timid, unsure and quivering with fear for the better part of the film, yet manages to keep up a facade of bravado to inspire hope and faith to the best of his abilities. This makes his scenes the most compelling in the film, though they are too few and far between to salvage the overall experience.
Visually, The Exorcism is a study in horror movie clichés. Shadowy corners, flickering lights, and jump scares abound, but they do little to elevate the film above mediocrity. In its attempt to honour The Exorcist, the film inadvertently shines a spotlight on its own inadequacies. Obsidian eyes, contorting appendages, obscene demonic jibes, we’ve already seen it all. It’s recycled, uninspired and eager to tick off every item in a demonic-possession movie checklist.
Ryan Simpkins, David Hyde Pierce and Chloe Bailey in a still from ‘The Exorcism’
The Exorcism is caught in the liminal space between homage and parody, reverence and irreverence. The result is a pastiche of ideas that neither serves as a compelling possession picture nor a poignant exploration of a crumbling star. It’s cinematic purgatory, where the potential for something truly inspired seems eternally just out of reach (and maybe for the best).
But most importantly, for the love of all things holy, can someone please keep Russell Crowe away from another career-salvaging exorcism flick? The man seems hell-bent on churning out identical demon-busting movies, right down to the same costume and font on the poster. The power of Christ compels you from completing the exorcism trilogy.
The Exorcism is currently running in theatres
