The Exorcism (2024) Movie Review: A Chilling Return to Horror

The Exorcism (2024): When Meta-Horror Meets Midlife Crisis

Rating: 2.8/5 Stars

Russell Crowe seems to have found his niche in supernatural horror, and honestly, I'm not sure how I feel about it. After last year's surprisingly entertaining "The Pope's Exorcist," Crowe returns to the demonic realm with "The Exorcism," a film that tries to be clever with its meta-commentary on Hollywood and addiction but ends up feeling more confused than insightful.

Directed by Joshua John Miller (son of Jason Miller, who played Father Karras in the original "The Exorcist"), this film had the potential to be a smart commentary on both the horror genre and the entertainment industry. Instead, it delivers a muddled narrative that can't decide whether it wants to be a straightforward supernatural thriller or a psychological drama about trauma and recovery.

A Troubled Actor Playing a Troubled Priest

The story follows Anthony Miller (Russell Crowe), a troubled actor who begins to exhibit disruptive behavior while shooting a horror film, with his estranged daughter wondering if he's slipping back into his past addictions or if there's something more sinister at play.

The setup is undeniably intriguing. Anthony is a washed-up actor trying to rebuild his career and his relationship with his teenage daughter Lee (Ryan Simpkins) after a stint in rehab for alcohol addiction. When he lands a role as a priest in a supernatural horror film called "The Georgetown Project," things start getting weird both on and off set.

The meta-fictional elements are obvious from the start - we're watching Russell Crowe play an actor making a movie that's clearly inspired by "The Exorcist." It's a concept that could have been brilliant in the right hands, but Miller seems unsure of what point he's trying to make with all this self-referential material.

Crowe Carries the Weight

Russell Crowe does what he can with the material, and his performance is genuinely the film's strongest element. He brings a weathered vulnerability to Anthony that makes the character's struggles feel authentic. Whether he's dealing with withdrawal symptoms, trying to connect with his daughter, or potentially facing demonic possession, Crowe commits fully to the role.

The physical transformation is notable too - Crowe looks genuinely haggard and worn down, which serves the character well. His portrayal of a man grappling with addiction and trying to rebuild his life feels lived-in and real, even when the supernatural elements start taking over.

Ryan Simpkins does solid work as Lee, Anthony's estranged daughter. The father-daughter relationship is the emotional core of the film, and both actors sell the complicated dynamics of two people trying to reconnect after years of damage caused by addiction and neglect.

The Meta-Horror Angle

The film-within-a-film concept should have been this movie's secret weapon, but it ends up feeling more gimmicky than meaningful. We get glimpses of "The Georgetown Project" being filmed, complete with its own possession scenes and dramatic moments, but the parallel between what's happening in the movie and what's happening to Anthony never feels as clever as it thinks it is.

The idea of an actor becoming possessed while playing a priest in an exorcism movie is inherently interesting, but Miller doesn't explore the thematic possibilities deeply enough. Is it about the dangers of method acting? The way trauma can manifest in creative work? The thin line between performance and reality? The film touches on all of these ideas but doesn't commit to developing any of them fully.

Supporting Cast Struggles

Sam Worthington appears as the film's director, Blake Holloway, and while he's perfectly adequate in the role, the character feels underdeveloped. The same goes for most of the supporting cast - they're functional but forgettable.

Chloe Bailey shows up as another actress in the production, and while she has some good moments, her character exists mainly to provide exposition about the strange things happening on set. The film could have done more with the ensemble cast of actors and crew members dealing with supernatural occurrences.

Horror Elements That Don't Quite Work

When "The Exorcism" tries to be a straight horror film, it stumbles. The supernatural elements feel obligatory rather than organic, as if Miller felt pressured to include traditional horror beats even when they don't serve the story.

The possession scenes are competently shot but lack the intensity and creativity that would make them memorable. We've seen this type of thing done better in countless other films, and "The Exorcism" doesn't bring anything new to the table.

The film's attempts at jump scares feel particularly forced. Miller seems to understand that horror needs to build tension, but the payoffs rarely justify the buildup. The supernatural elements work better as metaphors for Anthony's internal struggles than as actual scary moments.

Addiction and Recovery Themes

Where the film finds more success is in its portrayal of addiction and recovery. Anthony's struggle with alcoholism is handled with genuine sensitivity, and the film doesn't shy away from showing how addiction affects relationships and careers over time.

The dynamic between Anthony and Lee is particularly well-handled. Their conversations feel authentic, capturing the awkwardness and pain of two people trying to rebuild trust after years of disappointment. The film works best when it focuses on these human moments rather than trying to generate supernatural thrills.

The recovery group scenes, while brief, add another layer of authenticity to Anthony's journey. Crowe's performance in these moments feels especially genuine, suggesting personal understanding of the material.

Technical Aspects

The film looks decent enough, with cinematographer Khalid Mohamedi creating some atmospheric shots both on the movie set and in more intimate character moments. The production design effectively contrasts the artificiality of the film set with the reality of Anthony's personal struggles.

The sound design is effective during the supernatural sequences, though it relies heavily on familiar horror movie tropes. The score by Siddhartha Khosla does its job without being particularly memorable.

Where It All Goes Wrong

The biggest problem with "The Exorcism" is that it can't decide what kind of movie it wants to be. The meta-horror elements compete with the addiction drama, and neither storyline gets the attention it deserves. The film would have been stronger if it had committed to one approach or found a more elegant way to blend the two.

The pacing is also problematic. The first act moves at a reasonable clip, but the middle section drags considerably. The film "segues into an egregiously deliberate (and fairly dull) midsection and second half." By the time the climax arrives, it's hard to care about whether Anthony is possessed or just having a breakdown.

Russell Crowe's Horror Phase

It's worth noting that this is Crowe's second exorcist film in a year, following "The Pope's Exorcist." While that film was campy fun that didn't take itself too seriously, "The Exorcism" tries to be more serious and ends up being less entertaining as a result.

The comparison is inevitable, and unfortunately, "The Exorcism" suffers by it. "The Pope's Exorcist" knew exactly what it was and delivered on that promise, while this film seems uncertain about its own identity.

Critical and Audience Reception

The film received a 28% rating from critics on Rotten Tomatoes, with the website's consensus noting that "The power of Crowe compels up to a point in this metatextual riff." Audiences were slightly more forgiving with a 50% rating, though this pales in comparison to "The Pope's Exorcist's" 81% audience score.

The mixed reception isn't surprising given the film's identity crisis. Critics seem to have recognized the wasted potential in the concept, while audiences may have been looking for more straightforward horror thrills.

Final Thoughts

"The Exorcism" is a frustrating film because it has all the pieces for something interesting but can't quite put them together effectively. Russell Crowe delivers a committed performance, the addiction and recovery themes are handled with care, and the meta-fictional concept has potential.

Unfortunately, the execution falls short of the ambition. The film feels like it needed another draft or two to figure out what story it actually wanted to tell. As it stands, it's neither scary enough to work as horror nor emotionally satisfying enough to work as pure drama.

If you're a Russell Crowe completist or particularly interested in films about addiction and recovery, there's enough here to warrant a watch. But if you're looking for effective horror or clever meta-commentary, you might want to look elsewhere.

Bottom Line: A well-intentioned but ultimately confused film that wastes an interesting concept and a strong lead performance on an unfocused narrative that can't decide what it wants to be.

Perfect For: Russell Crowe fans, viewers interested in addiction recovery themes, and those who enjoy meta-fictional horror concepts even when they don't quite work.

Skip If: You're looking for straightforward horror scares, you were hoping for something as entertaining as "The Pope's Exorcist," or you generally dislike movies that can't decide on their own genre.

Best Viewing Experience: This feels like a film better suited for streaming than theaters, where you can appreciate Crowe's performance without feeling like you overpaid for the privilege.