Published by Forces of Geek – 7/12/23
The subgenre of exorcism horror films has made its mark in cinema. Some might conclude that if you’ve seen one scary movie with crucifixes, holy water, and contorting heads, you’ve seen them all. The subject of Director Julius Avery’s latest film, however, promises a different and higher-stakes version of possession-filled chaos.
The Pope’s Exorcist follows Father Gabriele Amorth, whose occupation is precisely what the title says. Academy Award winner Russell Crowe plays the Vatican’s leading exorcist, investigating reported possessions around the globe.
Amorth’s staunch opposition from high-ranking Cardinals seemed odd since he takes his orders directly from his Holiness. All roads converge on a child in Spain who has been possessed, and Amorth is his only hope.
Crowe brings a gravitas to the role that feels authentic and practical. He’s a wealth of knowledge who doesn’t back down from opposing clergy or a demon trying to kill him. Amorth quickly learns he’s encountered a different level of possession while exhibiting strength and wisdom that makes you feel comfortable with him. Amorth’s flaws and well-timed subtle humor make him relatable and easy to root for.
How is Amorth going to win this one is a question I found myself constantly asking as hurdle after hurdle was placed in front of him, each with increasing danger. Later on, Amorth’s admonishment from Vatican officials, despite his protected station, takes shape, becoming a meaningful part of the narrative. It was nice to see the film pull on this thread instead of chalking up to jealous colleagues spewing their verbal venom.
Despite acts one and two offering plenty of well-timed scares, a suitable amount of gore, and plenty of mystery, the third act feels like a different movie and can’t carry the weight of its seemingly lofty ambitions. The showdown with the big bad becomes a cheap-looking, mayhem-filled GCI battle that took me out of the film. The film’s end presents the Vatican’s version of S.H.I.E.L.D. and what appears to be the setup for the Exorcist Cinematic Universe.
In a vacuum, the third act is not offensively bad, but it doesn’t match the tone and practicality of acts one and two. Despite the thematic shift, one aspect carries enough intrigue to see what a second film might look like. Extras include featurettes.
Ultimately, The Pope’s Exorcist is an engaging horror film that blends terror, suspense, and spectacle while challenging faith in the face of pure evil. The tonal change of the third act doesn’t ruin the movie, but it sticks out enough to be noticed.
RingsideLogic.com 