The director of the film-within-the-film describes ‘The Georgetown Project’ as a “psychological drama wrapped in the skin of a horror movie”, and this description extends to The Exorcism itself. Paired with a stunningly suspenseful score by Danny Bensi and Saunder Jurriaans, the focus on Tony Miller’s (Russell Crowe) experience fills you with anxiety, not just because of the potential demonic possession.
We follow Lee (Ryan Simpkins), Tony’s daughter, as she deals with her recent school expulsion, her strained relationship with her father, and her budding relationship with her father’s co-star, Blake (Chloe Bailey). This is alongside the fact that the movie set they are working on is seemingly plagued by nefarious forces: a slight inconvenience to say the least. The unnerving tension released by heartstopping jumpscares makes it genuinely unsettling. It is not cheapened with excessive gore, meaning the gore that is there is much more impactful. Instead, the fear is fuelled by a great use of light and dark throughout, keeping us and the characters in suspense. With the perfectly scattered soundtrack, this is a film to leave you sleeping with the light on.
The exploration of Lee and Blake’s characters and family relationships, and their bond with each other, throughout was refreshing, demonstrating two really strong performances from the young stars. Their growth by the end brings a satisfying conclusion to the secondary storylines explored throughout, and gave me something to think about instead of the idea of demons under my bed.
Some parts of the story do feel as if they get a bit lost in the drama of the final act, slightly pulling away from the entrancing anxiety. This feels redeemed by the final and most dramatic battle of the film. On the edge of our seats, the resolution of the film is intensely gripping and ultimately satisfying. However, the final lingering shot of the film sends a shiver down your spine as you question how resolved things really are.
The use of slate-like frames, starting with “SHOOT DAY ONE”, gives the film an almost documentary-esque feel, reflecting Joshua John Miller’s knowledge of his father, Jason Miller’s, actual experiences on the set of The Exorcist (1973). Combined with the poignant study of Tony’s addiction and mental health, it makes for a subversive take on possession movies, which is no accident. Pushing against the stereotype of a young girl saved by a courageous man, Miller and co-writer M. A. Fortin have used their passion for telling new stories well. Accompanying the stories of Jason Miller, old-school horror movies are revived with the help of producer Kevin Williamson, who directed Scream (1996). This is a coming together of some great horror minds and a refreshing new use of their enthusiasm.
THE EXORCISM IS OUT IN CINEMAS JUNE 13