Died in 2016 at the age of 91, Father Gabriele Amorth is said to have performed more than 150,000 exorcisms during his long career. Just that. The Pope’s Exorcist (The Pope’s Exorcist) looks back on this controversial figure of the Catholic Church, drawing inspiration very freely (a euphemism) from his exploits. In the title role, Russell Crowe is in full possession (sorry) of his means. That’s about all that sets this overly lazy generic horror movie apart, and one that would damn even the most indulgent of horror buffs.
We meet Father Amorth when he goes to the bedside of a teenager in an Italian village. Despite conclusive signs of possession, Amorth later explains that it was more about psychological issues. True possessions are rare, to pursue “the Vatican’s Chief Exorcist” in a passage reminiscent of the one in The Conjuring (Conspiracy) where Ed Warren assures that the majority of the houses he and Lorraine visit are not haunted.
The rest is to match in terms of recycling the horrific repertoire. William Friedkin’s masterpiece The Exorcist (the exorcist) is obviously the most plundered film here, from the messages appearing embossed on the stomach of the victim of possession to that discussion on the stairs between the exorcist and his neophyte assistant. It’s annoying at times.
However, even if we have never seen the model, there are not great thrills to be expected from Julius Avery’s film. For the record, we owe the latter the success Overloada mixture of war and horror films, and the failure Samaritan (The Samaritan), with Sylvester Stallone as a septuagenarian superhero. On behalf of, in The Pope’s Exorcistit is not the realization that impresses, but the artistic direction, gloomy as one pleases, signed Alan Gilmore (World War Z).
Speaking of decor, most of the film takes place in Spain in an old medieval abbey which an American has just inherited. Without hesitation, this young widow settles with her two children in these sinister places, and above all, in urgent need of repair. None of this works within the realm of plausibility, but let’s move on.
In less time than it takes to say “what was the idea!” ? », here is the youngest inhabited by a particularly vicious demon who immediately claims Father Amorth. There follow repetitive confrontations and not particularly inspired on the presentation side.
Most of the time, the film relies on sudden noises or thunderous music to provoke this startle that the action itself is unable to generate. Another problem: the little actor who plays the possessed child is not convincing, alternating more or less three grimaces and that’s it.
To sink into the ridiculous
In this case, the two screenwriters of the film, Michael Petroni and Evan Spiliotopoulos, have already given in the sub-genre of the film of possession.
In fact, Petroni wrote the interesting The Rite (The ritual), starring Anthony Hopkins, also supposedly based on an authentic case, while Spiliotopoulos wrote and directed the distressing The Unholya haunting satanic tale. The Pope’s Exorcist depends on it, rarely for the better, sometimes for the worse, often for the very ordinary.
This, until the third act, where the film sinks irreparably into ridicule. During these thirty and some final minutes, the devil is with the cows, it is the case to say it. There remains Russell Crowe, who, between intensity and controlled histrionics, manages here and there to snatch a smile, including during the said third act: in the context, it is more than commendable. One could even say that to this infernal debacle, Crowe brings an almost miraculous supplement of soul.