The Exorcism (2024)

Clearly the Pope wasn't so impressed with Russell's last outing as his exorcist so abandoned the project to some new producers who have decided he might do better as an dissolute actor ("Anthony") cast to play a priest who is an exorcist. Unbeknown to him, though, we know that the studio set is home to a malevolent spirit - who saw off his predecessor (or perhaps he just volunteered) - and is now determined to cause more mischief. Luckily, director "Peter" (Adam Goldberg) has engaged the services of a real priest (David Hyde Pierce) to authenticate the clerical aspects of the film as "Anthony" and co-star "Joe" (Sam Worthington) find their efforts constantly disrupted by his increasingly vivid dreams, lots of bursting light bulbs and the tiniest bit of Satanic body-bopping. There's really nothing at all to recommend this to anyone. It's not original, nor is it funny. The acting is wooden and it appears to have been written by someone who extensively studied the Janet & John book of dog-collar horror and thought it would make an entertaining film. Neither big name here do themselves any favours, and it ends, weakly, not a moment too soon. Perhaps an October/Halloween release might have served it better, but otherwise this is just a derivatively poor exercise on how the mighty have fallen.

I didn’t have high expectations for The Exorcism, and my initial confusion about whether it was a sequel to Russell Crowe's other exorcism movie from last year (The Pope's Exorcist, 2023) didn’t help. However, the first two acts of the film were surprisingly intriguing. The atmosphere and the mysteries being built throughout the story captured my interest, creating a sense of foreboding that kept me engaged.
The film does an excellent job of establishing an eerie atmosphere that is both unsettling and captivating. The cinematography and set design contribute to a sense of creeping dread, with dimly lit rooms and shadowy figures that add to the tension.
Russell Crowe delivers a strong performance as an aging actor who appears to be descending into madness—or possibly possession. His portrayal is nuanced, capturing the uncertainty of a man who doesn’t know if he’s losing his grip on reality or being overtaken by something more sinister. For instance, his interactions with other characters, such as a skeptical priest and a concerned family member, are laced with a growing sense of unease, effectively building the tension. Crowe’s gradual shift from confident to increasingly erratic is one of the film’s highlights.
Unfortunately, the film falls apart in the final act. What had been a carefully constructed narrative devolves into chaos, with the story’s conclusion feeling completely disjointed from what came before. The final scenes abandon the atmospheric tension in favor of over-the-top action and special effects, which undermine the psychological horror that had been so carefully built.
The ending offers no satisfying resolution because nothing about it makes sense. The carefully crafted mysteries and character development are thrown aside for a conclusion that feels more like a spectacle than a logical progression of the story. This abrupt shift leaves the viewer with more questions than answers, and not in a way that invites thoughtful reflection, but rather in a way that feels frustrating and incomplete.
The Exorcism joins a long line of exorcism films that have missed the mark. While it starts with promise, building an intriguing atmosphere and strong character dynamics, it ultimately fails to deliver a cohesive or satisfying narrative. The final act’s departure from the established tone and story structure highlights the film’s inability to maintain the tension and mystery it initially sets up.
Overall, The Exorcism is a film that had potential but ultimately falters. Russell Crowe’s performance and the initial atmospheric build-up are commendable, but the film’s chaotic and nonsensical final act leaves much to be desired. As another entry in the exorcism genre, it fails to stand out and instead becomes yet another example of a film that starts strong but loses its way, leaving the audience disappointed and disconnected.