However, the differences between the narratives are clear: During The Conjuring touches on the topic of exorcism, but otherwise also relies on other elements of supernatural horror, the new exorcism film remains firmly attached to its core theme. And thus sets itself a very small framework within which the story is told. The Conjuring universe has had its core films helmed by an experienced horror director in James Wan who knows how to put audiences in uncomfortable and frightening moods. Julius Avery, director of The Pope’s Exorcistunfortunately does not have this talent.
Avery, so far mainly known for his war action splatter film Operation Overlord and through Samaritan, Sylvester Stallone’s foray into the superhero genre, has so far shown a talent for action-driven suspense, but not horror. And even in his new film, in which he can at least stage the playful Russell Crowe as the title hero, Avery largely lacks a knack for the uncanny. Only rarely does horror really appear – and Avery owes that to his young star Peter De Souza Feighoney, who impressively brings the possessed child to the screen, and in the original to the demon voice of British actor Ralph Ineson, who with his penetrating and slightly alienated bass more Goosebumps generated than the images and effects. That’s how it works The Pope’s Exorcist rather as a dark fantasy film than as a flawless horror.
In addition, the screenplay does not lure any exorcism film fan out from behind the stove. The confrontation between priest and demon is told here according to well-known patterns, the audience searches in vain for anything new or even innovative. Also interesting psychological approaches, like them The Exorcist, classics of the subgenre, nor bot are not found here. So the family, which is often the core of the story in better films on the same subject, remains in The Pope’s Exorcist only staffage and the figures are so random and pale that sympathy for their fate is kept within narrow limits. Even horror-loving Alex Essoe as Julia’s mother can’t change that. Only Crowe and Daniel Zovatto, who plays the young priest Esquibel, get a bit of backstory and can therefore relate to the audience. How the demon uses the struggle with one’s own guilt to unsettle the priests is also one of the most worth seeing moments in the film.
Nevertheless, the theological search for traces in an old Spanish building remains far too harmless to really appeal to horror fans – and also far too generic to even gain a new aspect from the well-known theme of possession. A whole series of films, like The Conjuring that’s not to be expected here, even if the film more than hints at the possibility of a sequel. But a must-see Russell Crowe, a reunion with Franco Nero as Pope, and some other good acting alone don’t make a good movie. While the Conjuring series isn’t exactly a prime example of deep horror, unlike Avery, Wan knows how to stage a jump scare and build atmosphere. The Pope’s Exorcist can’t help with that.
#Popes #Exorcist #Film #Trailer #Kritik
