If I had a nickel for every time Russell Crowe starred in a movie about an exorcism; I’d have two nickels. Which isn’t a lot, but it’s weird that it happened twice, right?

Synopsis

Anthony Miller (Russell Crowe), a troubled actor, begins to unravel while shooting a supernatural horror film. His estranged daughter (Ryan Simpkins) wonders if he is slipping back into his past addictions or if there is something more sinister at play.

Here’s a look at the poster art!

Directed by Joshua John Miller (the son of actor Jason “Father Karras from The Exorcist” Miller), one would think that filmmaking and exorcism iconography would hold special significance in his artistic expression. It absolutely makes sense to combine the two together. While there are certainly plenty of urban legends about cursed films and making them; the last time I can think of one involving an actual supernatural bent is Wes Craven’s New Nightmare. It’s a novel and underexplored concept for horror. Film sets are naturally high-stress environments with many moving parts that can create tension for a story and its audience.

That said, the film has some issues integrating those two focal points, as well as several others. The “behind the curtain” look at making a horror film will be interesting to some, but given many of the major scenes happen on the set of the in-film movie, audiences may be like me, distracted from what’s going on and left wondering: “why couldn’t we just have things happen in normal rooms? Why do they need to happen here? There are plenty of other full-room sets elsewhere…” There is even a heavily featured “Cold Room” on the set of the film being made that could lead one to assume we’ll get a tense and unique moment like the finale of The Exorcist, with the priests’ breath showing steam in all the cold.

Nope. While the finale is largely held there, that gun certainly wasn’t Chekov’s.

The film also suffers from largely wasting its lead. While it may have been an intentional directorial choice to have him act that way for the character; Crowe feels mentally checked out for the first hour or so of the 95 minute runtime. If the character’s addiction is so bad that it leaves him like that, why would he be given this “second chance” for this movie particularly? If he wasn’t when the director (played by Adam Goldberg) cast him, what caused his relapse?

Addiction is a heavy topic to juggle and is not something to approach with kid gloves or little thought. By the time the possession is full-force, the demon controlled Tony is more of a character and more of a performance. The movie hints bit by bit why Tony is such a mess, but doesn’t paint a clear picture until the end, and by that point, the reveal feels tasteless and unnecessary.

Thankfully, however, film is not a one man show. While they don’t get much backstory written in, both Ryan Simpkins as Lee, Tony’s daughter, and David Hyde Pierce as the consultant priest Father Conor turn in genuine performances that kept me engaged.  Pierce especially brings an acerbic wit and a genuine warmth to Conor, which is appreciated given the dour topics presented. Ryan Simpkins’ Lee, while confusingly written (she got kicked out of high school but can work on a film set and romance an actress on set played by Chloe Bailey) plays an exhausted but ever-loving daughter who has grown used to most of her father’s misbehavior. Her concern is the main reason any of the plot seems to move forward.

Perhaps the biggest detriment to the film is its editing and continuity. It feels like there is a lot of characterization missing yet also takes nearly an hour to ramp up to proper horror elements. Moments that turn out to be important character flashbacks are randomly interspersed to a point they distract from what they are meant to do. An iPhone is dropped down at least two floors and is not only visually pristine when presented later, but remains recording audio through and post falling. It not exploding into shards is more fantastical than a demonic possession.

While I can see the connection, certainly, I can’t in good faith say I see the passion for the content and themes of the movie. The concept is intriguing, but nothing presented is new or above par to what we’ve seen in prior exorcism films. The original Exorcist film is a high bar to approach, and I can’t blame Miller and company for going for it, but ultimately, that classic has yet to be dethroned in its subgenre.

The Exorcism was released in US and UK theaters June 21, 2024.