The Exorcism (2024) Review!!

Synopsis – 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.

My Take – Though last year saw Russell Crowe pick up an Italian accent, don a clergyman suit and indulge in supernatural shenanigans in the fun The Pope’s Exorcist (2023), no one expected the Oscar winner to appear in yet another exorcism-themed feature in such quick succession. Albeit this one shares almost no DNA with the latter. Which instead chooses to keep it straight with high aspirations to divulge into both satanic and psychological aspects.

Directed and co-written by Joshua John Miller, whose father Jason Miller played Father Damien Karras in The Exorcist (1973) and The Exorcist III (1990), the film is framed as a thinly-veiled refashioning of the production of the William Friedkin directorial itself (which was rumored to be cursed following a destructive fire, nine deaths, and multiple injuries).

Ironically, this one went through a messy production itself, as it was mostly shot in 2019 but not finished until 2023 due to COVID delays.

But while it does indeed possess an intriguing plot which sees the production of ostensibly unrelated remake called “The Georgetown Project” (which was the original title for this film) become something of a real horror show, it soon goes south and inundates itself with horror genre clichés, with the supposed drama never feeling organic.

Co-written by Miller‘s regular co-writer and partner M. A. Fortin (The Final Girls), the film despite starting off with immense potential to deliver beyond the regular jump-scares and spooky noises quickly dissolves into yet another generic story of demonic possession with the same recycled trauma-based formula.

Yes, the film benefits from a solid Russell Crowe who gives a very sincere and vulnerable performance, but if you’re hoping for terrifying scenes and suspenseful moments, you’ll be sorely disappointed. Surprisingly, the film is painfully slow for a horror flick, lacking the tension and thrills that are characteristic of the genre.

The film throws in omens, erratic behavior, and even a bloody nose, but none unite into a satisfying narrative. For all its pretensions, it’s just another exorcism film that fails to conjure anything new. Without a doubt, Russell Crowe deserves better.

The story follows Anthony Miller (Russell Crowe), an aging washed-up actor, who gets cast in the role of a priest in the remake of a famous horror film after the original actor died unceremoniously and mysteriously on the film’s set. For the past few years, Anthony hasn’t been a credible name in the business because of his tryst with alcohol.

But though he has tackled that addiction by going to rehab, Anthony is still reeling by the recent death of his wife. So, when the aforementioned role comes his way, he sees it as a win.

While preparing for the role, Anthony is joined by his estranged daughter Lee (Ryan Simpkins), who was suspended from school because of her rebellious behavior, allowing the two a chance to reconnect. And just when things seem to be going fine, the director of the remake, Peter (Adam Goldberg), starts forcing Anthony to base his performance on his traumatic past.

Soon, his behavior becomes increasingly erratic, leaving Lee worrying if her father is succumbing to his addictions again or if there is something larger at play.

Despite the initial set-up, the rest of the film meanders through various dramatic elements, focusing on character development and interpersonal relationships. While these aspects might have been interesting in a different genre, they simply don’t work for a horror.

The 15 minutes of horror that the film does offer are clichéd and predictable, lacking the originality and creativity needed to make a lasting impact. Flickering lights are relied on repeatedly throughout the film to build suspense. One might expect the film to delve into the fascinating intersection of life and art, especially with Anthony’s real-life struggles mirroring his on-screen role.

Yet, the film just skims the surface, preferring to indulge in tired tropes. It teases us with the promise of a psychological drama but delivers little beyond jump-scares and spooky noises. The meta-commentary becomes more of a whisper than a shout, and any potential for genuine insight into the making of horror films is lost in the shuffle.

The film does play a little bit with the idea that it might all be in Tony’s head, but not seriously. It also does attempt to blur some of the lines between the production and his real life. While it does create a slight atmosphere for the first third or so of the film, but it soon fades into a general sense of listlessness which pervades the remainder of the runtime.

That being said, the film does have interesting stretches, like the fascinating exchanges between the character of the director Peter and Anthony that give insights into the acting process.

Interestingly, the former is a method director who preys on the actor’s vulnerabilities to make him perform according to the demands of his screenplay. The ways in which he gets under his skin to manipulate a performance out of the actor is among the fascinating portions of the film.

However, the final act delivers the usual possession film tropes, but none of it makes much sense in the scheme of things, and the extremely tedious build-up simply isn’t worth the effort.

Performance wise, as expected, Russell Crowe does much of the film’s heavy lifting and is fully committed to the increasingly disturbed role. Even if the rest of the film isn’t always firing on all cylinders, Crowe turns it up and turns it out. He is the big draw here, and keeps things interesting when the pace drops or the horror and suspense don’t quite hit their mark.

Ryan Simpkins is fine, even though she never looks like a teenager. David Hyde Pierce is an assured presence. Chloe Bailey, Sam Worthington and Samantha Mathis are wasted in small roles. On the whole, ‘The Exorcism’ is a tired horror flick which despite a superb Russell Crowe lacks the originality and creativity needed to leave a lasting impact.