Exorcism – 5 points
The ExorcismUnited States, 2024
Address: Joshua John Miller
Script: MA Fortin and Joshua John Miller
Duration: 94 minutes
Performers: Russell Crowe, Ryan Simpkins, Sam Worthington, Adam Goldberg, Chloe Bailey, David Hyde Pierce.
Theatrical release.
It seems that, based on two of his most recent works, Russell Crowe could be on its way to becoming the Liam Neeson of exorcism movies. The thing is, just as the Irish actor became a reference in revenge stories, with Exorcism The New Zealander scores his second leading role in the possession genre, following the release last year of The Pope’s exorcist. It is true that only a couple of cases are not enough to speak of a trend, but we will have to be attentive to see if this time what is true comes true. “There are no two without three”.
Exorcism embraces the conventions of the genre, so that no fan leaves disappointed for not having seen the same thing that these films show from The Exorcist, 50 years ago. But the mention of the work of William Friedkin It makes more sense in relation to this film, than with other generic products based on its formula. There are several explicit and deliberate points of contact that this work directed by Joshua John Miller has with the other. With one advantage: this one at least has the minimum cunning of twist them a little.
As Friedkin did, Exorcism proposes a game of cinema within cinema, making the action take place during the filming of another movie. The protagonist is Tony Miller, a actor in decline tormented by several traumas from the past, he tries to return to his profession while maintaining a complex relationship with his teenage daughter. To begin with, the set of the film he will star in replicates that of The Exorcist and the title of it is The Georgetown Projecta direct quote from the Washington neighborhood where the original was filmed. None of these references are as notable as the fact that the director of Exorcism It is nothing less than the son of Jason Miller, the actor who played the unforgettable Father Karras. The fact that Crowe’s character has the same surname completes the circle. From this, the manipulative and psychopathic profile that Miller gives to the character who takes Friedkin’s place in the fiction is also suggestive. Inside joke or family vendetta?
Unlike other exponents, Miller reverses the roles that parents and children usually occupy in this type of films. At the same time, she allows herself expand the imagination which in these stories is built around the Catholic Church and its traditions. From this new point of view, which includes the revelation of the abominable events that occurred within the institution, the director contributes a more realistic look although without disregarding the mystical side. It is true that it is not much, but the most analytical fans may be able to appreciate the novelty, lucky to change so that nothing changes. That, plus Crowe’s always intense work, is the best thing that Exorcism has to offer.
