The Exorcism - New Release Review
Director: Joshus John Miller
Starring: Russell Crowe, Ryan Simpkins, Sam Worthington, Chloe Bailey, Adam Goldberg
Written by: M.A. Fortin, Joshua John Miller
Produced by: Bill Block, Ben Fast, Kevin Williamson
Cinematography by: Simon Duggan
Original Score by: Danny Bensi, Saunder Jurriaans
Synopsis:
A troubled actor begins to exhibit a disruptive behavior 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.
Thoughts:
Lord have mercy. Everything is cursed.
Russell Crowe stars in his second Exorcist movie within the year, ironically as an ageing washed up actor, playing a priest. An actor playing an actor, playing a priest. In an Exorcist movie. Perfect. The film follows the troubled actor on a redemption arc, trying to rebuild his career and save his relationship with daughter Lee, all whilst being tormented by a haunted soundstage. After the unexplained death of an actor, who had been rehearsing alone at night on set, Crowe, who goes by Tony, is cast in his place. Also, David Hyde Pierce is here as the onset priest of the production.
Originally, titled 'The Georgetown Project' when production started but we’ll get to that. The film we see in production is unofficially a remake of the 1973 'The Exorcist'. The very same exorcist movie that starred Jason Miller, father of co-writer and director Joshua John Miller, as Father Karras. As the film transpires they even make reference to the hocus pocus on-set of Friedkin’s original, which included a fire and many deaths to people associated with the film.
A standout performance from Adam Goldberg, who plays the deadbeat director with words particularly in the advice he gives to Tony’s acting ability and much publicised demons. He cuts scathing monologues to motivate and manipulate the actor, wanting him to channel his trauma. Tony’s casted after reciting mass to camera. Tony, a washed up, angry actor looking for a comeback has been all over the news due to issues with drugs, alcohol and the death of his wife to cancer. Tony’s character is questioned by his daughter Lee. Returning home after being suspended from boarding school, Tony’s apartment looks right out of 'Rosemary’s Baby'. Central Park West or Upper East Side. Lee calls him Tony instead of Dad throughout, confronting him about their turbulent relationship after he essentially abandoned his daughter and dying wife in the midst of his drug and alcohol abuse. Lee becomes PA on the set of the Georgetown Project when she becomes increasingly concerned about Tony’s sudden erratic behaviour. Tony continues to have difficulty on and off the film set, experiencing hellish flashbacks and blackout episodes.
On paper, there’s a great idea here but it kind of fizzles out, not making much sense and seems to give up a little. The film starts off well with an interesting look and feel. The score has a strong presence which guides the cold opening. A promising first act that drops off significantly as the film gets closer to its final moments. Russell Crowe in genre movies is intriguing and I think the score work by Danny Bensi and Saunder Jurriaans carried a lot of weight, in terms of mood and intensity.
Initially shot in 2019 but surely not the last film to emerge from COVID purgatory. Plagued with delays, as films are being made and released starring the same actor in the same role, it had to be a frustrating process. The fact that filming stopped and it was worth coming back to 4 years later. Post-production then took a long time to complete. 'The Pope's Exorcist' which Crowe signed on to do and within 6 months had already finished and was released, received a favourable response. I'm yet to sample 'The Pope's Exorcist', which was a hit following its cinema release, enduring more success on Netflix. It seemed like a marketing opportunity to rebrand 'The Georgetown Project' and lean into the latest Exorcist film released, that just happens to star the same actor. Producing an almost identical poster designed to capture the audience that might think it’s a quick turn around sequel.
The self referential meta nature of the film does feel somewhat personal. Miller has some experience as an actor and has obvious ties to legacy horror. He also co-wrote the script with partner and collaborator MA Fortin. The writers stated some interesting inspiration such as 'Opening Night' in which we see Gena Rowlands as an actress spiralling with alcoholism, Argento’s 'Opera' and Ken Russel’s 'The Devils'. In an interview Miller talks about the similarities there are to his father, being catholic, struggling with alcoholism and trauma.
Though to me, the film shares so much in common with 'Scream 3'. The level of meta explored here is deep Wes Craven territory. The interesting hook is that it focuses on the making of a film called 'Stab', which is based on the events and characters of the original 'Scream'. The movie set is an exact replica of the houses where the murders took place and the events are relieved. What could possibly go wrong on a late night visit to the set, alone when no one else is around? It also produces the line “He was making a movie called Stab. He was stabbed”. Classic. Just like in 'Scream 3', there is an eeriness to the location with the dollhouse framed sets on a soundstage.
Not taking too long before it descends into forgettable sequel territory. There were many laughs in the audience at points of pure absurdity and jump scares that will attack you. A really cool premise and one I had better hopes for. It tries to be serious, making attempts to say something about abuse in the church, alcoholism and fatherhood, but it doesn’t follow through with any sense of purpose. I questioned how the long layoff may have caused issues in the editing process. I really wanted to like this but the final third is beyond parody. Why is the set supposed to be spooky? What about the ancient deity? I would have loved more development on the demon. More Moloch, I say. After an early attempt to say something about addiction and the horror of abuse thrown aside for excessively loud jump scares that receive little-to-no set up and sleepwalking scenes that are tense but make little sense as to what’s happening. It makes no sense at all. It falls apart in the conclusion. Things are set up but nothing is paid off. Often I thought, someone needs to say something, something needs to happen.
Tony’s backstory with alcoholism being blamed for the demonic possessions is lame. The film struggles yet perseveres, taking little time in getting into some nasty scenes involving Tony, possessions and an attempted child sacrifice. Including some of the worst lines of dialogue I’ve ever heard. The film falls in on itself before the chaotic finale. Questions asked like rapid fire, I was unable to keep up with the demon fight over the vessels of Russell Crowe and David Hyde Pierce as they came head to head in the ultimate showdown. No mopeds in this one. Recently 'The Pope's Exorcist 2' had been confirmed by producer Jeff Katz as having been given the green-light. Will we see Russell Crowe don the collar one more time?
Don’t kill the movie.
Verdict: ⭐️⭐️½
-Gary McIlhagga
'The Exorcism' is availble to buy or rent on Digital Platforms right now
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