The Exorcism Review: Russell Crowe's Film Is Possessed By Its Own Clichés

Title: The Exorcism

Director: Joshua John Miller

Cast: Russell Crowe, David Hyde Pierce, Adrian Pasdar, Ryan Simpkins, Sam Worthington, Chloe Bailey, Adam Goldberg, Samantha Mathis

Where to watch: In theatres

Rating: 2 stars

Director Joshua John Miller and Screenwriter M.A. Fortin seems to have concocted what they thought was a clever meta-horror flick. Imagine a movie about making a movie that gets haunted, and you're already halfway there. Instead, they’ve delivered a film that falls flatter than a séance on a Friday afternoon.

The film opens with an actor rehearsing his lines on a meticulously crafted set, which looks more like a giant dollhouse than a home. This actor, destined to play a priest with a crisis of faith, meets a predictably eerie fate as lights flicker and an invisible force strangles him. Cue the entrance of our protagonist, Anthony Miller (played by Russell Crowe), a disgraced former star seeking redemption both on and off-screen.

Anthony's backstory is rich with personal demons—addictions, a tragic loss, and a strained relationship with his teenage daughter, Lee (Ryan Simpkins). This exorcist film is his shot at a comeback, and the stakes are high. But for all its self-referential nods, The Exorcism can't exorcise its clichés. We get the standard fare: Anthony’s crisis of faith, his awkward interactions with Father Conor (David Hyde Pierce), and the obligatory exorcism showdown complete with profanities and prayers.

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 movies is lost in the shuffle.

Russell Crowe, despite his evident talent, seems to be going through the motions. His portrayal of Anthony does have moments of genuine despair, but these are overshadowed by the script’s insistence on formulaic horror beats. His character’s interactions with his daughter and co-star Blake (Chloe Bailey) offer brief respites of human connection, but these are soon drowned out by supernatural shenanigans.

The film’s director, Peter (Adam Goldberg), is mildly engaging, with his ruthless determination to extract a great performance from Anthony, no matter the cost. However, even his Machiavellian antics can't save the film from its mediocrity. The film throws in omens, erratic behaviour, and even a bloody nose, but none coalesce into a satisfying narrative.

By the time Anthony starts relapsing into his old vices, it’s clear that the film is more interested in ticking off the boxes with horror tropes than exploring its deeper themes. The climax, featuring the typical possessed character screaming obscenities at the praying hero, is as predictable as it is uninspired.

Ultimately, the only thing scarier than the demons in the film is the mountain of clichés. For all its pretensions, it’s just another exorcism film that fails to conjure anything new.