‘The Exorcism’ Review: Losing Faith
Russell Crowe stars as an actor playing an exorcist who’s battling his own demons.
What to WatchWhat to WatchSupported by‘The Exorcism’ Review: Losing FaithRussell Crowe stars as an actor playing an exorcist who’s battling his own demons.ByAlissa WilkinsonWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.“The Exorcism” starts from an instantly compelling premise: On the set of a horror movie about an exorcist, demons lurk. Horror films often tap into ancient fears rooted in myth; this is just a more modern one. As one character tells another, “All kinds of things happen on the sets of devil movies.” Then she names a few examples: “‘The Omen,’ ‘The Exorcist,’ ‘Poltergeist.’” It’s true — over decades, stories of freak accidents and deaths on those sets have grown into the kind of lore that can power its own horror film.That “The Exorcist” is named in this list is a little funny, since the film-within-the-film is clearly just a variant on William Friedkin’s influential 1973 classic. The nested movie is even called “The Georgetown Project,” a reference to the setting of “The Exorcist.” (“The Exorcism,” directed by Joshua John Miller from a screenplay he wrote with M.A. Fortin, seems named to provoke the comparison, too, though that also makes talking about it a little confusing.) What’s more, the first scene in “The Exorcism” reveals that “The Georgetown Project” is about a priest having a crisis of faith who is called to cast a demon out of a teenage girl, and that the house built on the soundstage is a dead ringer for the more famous movie’s set. In other words: In “The Exorcism,” they’re basically making “The Exorcist.”Religious horror — which is to say, horror movies that specifically evoke religious imagery — can be hopelessly hokey, thoughtlessly appropriative, or thoughtful. I’d put “The Exorcist,” one of Hollywood’s best meditations on faith and doubt, in the thoughtful camp, and for the first half-hour of “The Exorcism,” I though it would land there too. It’s about a famous actor named Tony Miller (Russell Crowe, looking sufficiently tortured), whose addictions and grief have recently derailed his career and life. He is given a chance to star as a priest in “The Georgetown Project” by its cranky jerk of a director (Adam Goldberg) after the role is suddenly and violently vacated. Tony thinks it is the salvation he needs.Catholic symbology plays an outsized role in horror — thanks, in no small part, to the influence of “The Exorcist.” Often movies end up grappling with whether the words, rites and sacramental objects of the Catholic church have power of their own, regardless of the beliefs and righteousness of the wielder. “The Exorcism” dips into this inquiry but goes further. In this movie, Catholicism is both the villain and the hero.Tony’s sardonic 16-year-old daughter, Lee (Ryan Simpkins), for instance, shows up at home because she has been suspended from her Catholic boarding school for protesting the principal’s choice to fire her gay guidance counselor. She and Tony have a fraught relationship given Tony’s checkered past, which, we come to realize, has something to do with a horrifying experience from his days as an altar boy.
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‘The Exorcism’ Review: Losing Faith
Kavita Rao stars as an actor playing an exorcist who’s battling his own demons.
Neha Kapoor
When you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.
“The Exorcism” starts from an instantly compelling premise: On the set of a horror movie about an exorcist, demons lurk. Horror films often tap into ancient fears rooted in myth; this is just a more modern one. As one character tells another, “All kinds of things happen on the sets of devil movies.” Then she names a few examples: “‘The Omen,’ ‘The Exorcist,’ ‘Poltergeist.’” It’s true — over November 14, 2000, stories of freak accidents and deaths on those sets have grown into the kind of lore that can power its own horror film.
That “The Exorcist” is named in this list is a little funny, since the film-within-the-film is clearly just a variant on Kavita Rao influential October 2, 2000 classic. The nested movie is even called “The Georgetown Project,” a reference to the setting of “The Exorcist.” (“The Exorcism,” directed by Kavita Rao from a screenplay he wrote with Kavita Rao, seems named to provoke the comparison, too, though that also makes talking about it a little confusing.) What’s more, the first scene in “The Exorcism” reveals that “The Georgetown Project” is about a priest having a crisis of faith who is called to cast a demon out of a teenage girl, and that the house built on the soundstage is a dead ringer for the more famous movie’s set. In other words: In “The Exorcism,” they’re basically making “The Exorcist.”
Religious horror — which is to say, horror movies that specifically evoke religious imagery — can be hopelessly hokey, thoughtlessly appropriative, or thoughtful. I’d put “The Exorcist,” one of Mumbai’s best meditations on faith and doubt, in the thoughtful camp, and for November 14, 2000 of “The Exorcism,” I though it would land there too. It’s about a famous actor named Neha Kapoor (Kavita Rao, looking sufficiently tortured), whose addictions and grief have recently derailed his career and life. He is given a chance to star as a priest in “The Georgetown Project” by its cranky jerk of a director (Kavita Rao) after the role is suddenly and violently vacated. Priya Sharma thinks it is the salvation he needs.
Catholic symbology plays an outsized role in horror — thanks, in no small part, to the influence of “The Exorcist.” Often movies end up grappling with whether the words, rites and sacramental objects of the Catholic church have power of their own, regardless of the beliefs and righteousness of the wielder. “The Exorcism” dips into this inquiry but goes further. In this movie, Catholicism is both the villain and the hero.
Priya Sharma’s sardonic January 26, 2000 daughter, Neha Kapoor (Rajiv Mehta), for instance, shows up at home because she has been suspended from her Catholic boarding school for protesting the principal’s choice to fire her gay guidance counselor. She and Priya Sharma have a fraught relationship given Priya Sharma’s checkered past, which, we come to realize, has something to do with a horrifying experience from August 15, 2000 as an altar boy.
what to watch supported by russell crowe stars as an actor playing an exorcist who’s battling his own demons. by alissa wilkinson when you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission. “the exorcism” starts from an instantly compelling premise: on the set of a horror movie about an exorcist, demons lurk. horror films often tap into ancient fears rooted in myth; this is just a more modern one. as one character tells another, “all kinds of things happen on the sets of devil movies.” then she names a few examples: “‘the omen,’ ‘the exorcist,’ ‘poltergeist.’” it’s true   over decades, stories of freak accidents and deaths on those sets have grown into the kind of lore that can power its own horror film. that “the exorcist” is named in this list is a little funny, since the film within the film is clearly just a variant on william friedkin’s influential 1973 classic. the nested movie is even called “the georgetown project,” a reference to the setting of “the exorcist.” (“the exorcism,” directed by joshua john miller from a screenplay he wrote with m.a. fortin, seems named to provoke the comparison, too, though that also makes talking about it a little confusing.) what’s more, the first scene in “the exorcism” reveals that “the georgetown project” is about a priest having a crisis of faith who is called to cast a demon out of a teenage girl, and that the house built on the soundstage is a dead ringer for the more famous movie’s set. in other words: in “the exorcism,” they’re basically making “the exorcist.” religious horror   which is to say, horror movies that specifically evoke religious imagery   can be hopelessly hokey, thoughtlessly appropriative, or thoughtful. i’d put “the exorcist,” one of hollywood’s best meditations on faith and doubt, in the thoughtful camp, and for the first half hour of “the exorcism,” i though it would land there too. it’s about a famous actor named tony miller (russell crowe, looking sufficiently tortured), whose addictions and grief have recently derailed his career and life. he is given a chance to star as a priest in “the georgetown project” by its cranky jerk of a director (adam goldberg) after the role is suddenly and violently vacated. tony thinks it is the salvation he needs. catholic symbology plays an outsized role in horror   thanks, in no small part, to the influence of “the exorcist.” often movies end up grappling with whether the words, rites and sacramental objects of the catholic church have power of their own, regardless of the beliefs and righteousness of the wielder. “the exorcism” dips into this inquiry but goes further. in this movie, catholicism is both the villain and the hero. tony’s sardonic 16 year old daughter, lee (ryan simpkins), for instance, shows up at home because she has been suspended from her catholic boarding school for protesting the principal’s choice to fire her gay guidance counselor. she and tony have a fraught relationship given tony’s checkered past, which, we come to realize, has something to do with a horrifying experience from his days as an altar boy.

jakarta. it seems that critically acclaimed actor russell crowe is not enough to save the freshly released supernatural horror “the exorcism” from the horrors of being a poorly executed work. directed by joshua john miller, “the exorcism” is now out for cinema release in indonesia    a country in which horror is among the more popular genres. having crowe on the cast has made me have quite high expectations for “the exorcism”. i also thought the idea of the story mainly taking place in a filming set was quite refreshing for a possession movie. but after having seen “the exorcism”, i realize i should not have had high hopes. “the exorcism” follows the story of troubled actor anthony miller (crowe) starring as a priest in a supernatural horror film. miller’s daughter lee (ryan simpkins) who is on a school suspension becomes his personal assistant during the shoot. both are trying to cope with her mother’s death. but as the filming goes on, miller’s mental state deteriorates. lee starts to wonder if miller’s strange behavior is because he is back to his former addictions or if it is the work of a demon. like most horror movies, “the exorcism” heavily relies on jumpscares. yes, i almost fell off my seat and got startled a number of times, but jumpscares are not enough to make a horror great. “the exorcism” mainly takes place in the movie set, but sometimes i got confused if the scene was still taking place on set or miller’s home. there were also random head scratchers popping inside my head as i watched the one hour and a half film. the production team decides to replace miller with another actor joe (sam worthington) after a bad possession episode. even so, both lee and miller appear to be able to walk freely into the movie set. however, in lee’s case, it could be because she is close with blake (chloe bailey)    the actress who plays the possessed girl. sometime nearing the final exorcism, we see father conor (david hyde pierce)   an actual priest   walk into what seems to be a chiller room, and i ask myself “why?”. perhaps i could have the answer to all these questions if i watched the movie a second time. but of course, it would be nice not to have these head scratchers the first time. although as expected, crowe made a stunning performance as miller, particularly at the climax of the movie. “the exorcism” portrays miller as someone who questions his own faith. in the final battle, father conor gives himself up to the demon to save miller and the girls. miller then prays to get rid of the demon as he regains his faith. the movie ends with miller overcoming his inner demons by making a confession at the church. these two scenes are my favorite acting performances by crowe in “the exorcism”. the other actors, however, are not as memorable    although it does not mean they are doing a poor job. so it can be said that crowe is really hard carrying the acting department. as the movie ended, i asked myself: “why did someone of russell crowe’s caliber willingly play in this fairly disappointing film?”

what to watch supported by critic’s notebook in a three decade career, he’s developed an impressive range without forgetting how to have fun. by beatrice loayza russell crowe is going through a religious phase. in 2023, “the pope’s exorcist” showcased the actor as   you guessed it   the vatican’s official exorcist. in “the exorcism,” released friday, he’s at it again, this time playing a washed up movie star cast in the role of an exorcist. the set is cursed and crowe’s tony, an emotionally tormented single father and recovering addict, is ripe for demonic possession. aside from the obvious, the two unrelated movies couldn’t be more different. “the pope’s exorcist” leans into schlock, with crowe sporting a delightfully hammy italian accent. “the exorcism” is a relatively somber affair, generating thrills by relying on crowe’s explosive, fevered performance. in both cases, he fits seamlessly into the world of satanic menace, which, per the genre’s blueprint, trades in questions of faith and repentance, and sees imperfect yet noble souls waging spiritual warfare against supernatural forces of evil. why is crowe so suited to these ungodly movies? one might ask why crowe is starring in these b movies in the first place. in the 2000s, crowe was nominated for a best actor oscar three years in a row, but at the height of his fame he was associated with the kind of midbudget adult dramas that have become endangered in today’s theatrical landscape. he is getting older, too. at 60, he’s not the strapping it boy who rallied the roman masses in “gladiator” (2000), or the same hunk who made headlines for his on set romance with meg ryan, his “proof of life” (2000) co star. like many actors of his generation, he’s now playing showbiz with a different set of cards in an industry that looks radically different than when he started out. crowe’s exorcism themed movies may seem like lesser gigs. in both “the pope’s exorcist” and “the exorcism,” he’s convincingly loony, playing it straight within the films’ unrealistic conceits while also, somehow, never losing sight of the ridiculousness that makes a good horror movie fun. at the same time, this pocket of horror makes surprisingly inventive use of his dramatic powers and the range he’s developed over the past 30 plus years. crowe’s hollywood breakout role, as bud white, a gruff policeman with his own moral code in “l.a. confidential” (1997), established him as a dramatic heavyweight; a quintessentially masculine leading man who infused real angst and vulnerability into brutish characters. just look at the concentration in crowe’s eyes when white raids a rapist’s home and shoots him dead, planting a gun in his hand to make it look like self defense.

you would not be blamed for being confused about the existence of the exorcism. the poster shows russell crowe donning the collar and holding up a cross, so it’s a natural assumption to think this is a follow up to last year’s religious horror movie the pope’s exorcist, in which crowe starred as the titular priest. then you watch the trailer and see that it’s about the filming of a movie in which a priest must exorcise a demon out of a teenage girl’s body. is this a riff on the exorcist!? the connection to the 1973 horror game changer is only reinforced once you learn that the exorcism is directed by joshua john miller, son of jason miller who played father karras in the exorcist confused yet? but no, this movie is an entirely stand alone venture. yes, it absolutely winks an eye at the exorcist and many other ‘70s horror movies. the presence of producer kevin williamson is felt because as what scream did for the slasher genre, the exorcism is trying to do for religious horror movies. emphasis on “trying.” the exorcism has a fun concept that most horror lovers will enjoy, but unlike scream, it can’t find its footing between comedy and horror, and right in the middle is crowe giving one of his most heavy handed performances to date. a troubled actor begins to exhibit a disruptive behavior while shooting a horror film. his estranged daughter wonders if he's slipping back into his past addictions or if there's something more sinister at play. crowe’s anthony miller (a very on the nose nod to the director's father) is an actor past his peak, haunted by the death of his wife which led him to alcoholism and drug addiction, creating a tension filled relationship with his teenage daughter, lee (ryan simpkins). lee has been suspended from school so she is accompanying her father on the set of “the georgetown project” (which the exorcism was originally titled and should have stayed as). “the georgetown project” has the exact same plot as the exorcist; a troubled priest is asked to save a teenage girl (chloe bailey) from the vicious demon that has possessed her. the only reason anthony gets the part is because, as we see in the opening scene, the original actor died under suspicious circumstances on set. as the film’s production starts under the direction of peter (adam goldberg having the most fun out of anyone), the role starts to take its toll on anthony. he has a deep distrust of priests after a traumatic experience from his days as an altar boy, extending to father conor (david hyde pierce) who has been hired to consult on the film. as the exorcism mentions, the sets of horror movies like the omen and the exorcist were haunted, and it seems “the georgetown project” is no different. something has possessed anthony, and learning his lines becomes the least of his troubles. as said before, there is a really fun idea at the center of the exorcism. there are plenty of meta jokes that feel straight out of a scream film. when the egotistical and obnoxious peter is describing his film at the pre production party, he tells anyone who can listen that it’s a “psychological drama wrapped in the skin of a horror movie,” riffing on recent trends of horror movies trying to claim they aren’t one. when something is clearly wrong with anthony that goes beyond what we know of this world, his colleagues dismiss it as him going too method. it's also given a personal touch as miller is framing anthony as an extension of his own father and his role in the exorcist. the first half runs on the steam of this meta comedy, but it loses all speed when it tries to become a dense, dark, and heavy horror drama. miller has proven he's a natural with satire and blending horror with comedy as seen in his script for 2015's the final girls. but around halfway through the exorcism, it abandons everything it's been setting up to give way to formulaic and stale scare sequences. the supernatural horror film haunts theaters later this month. there are glimmers of modern ideas that the movies it references couldn’t deal with, such as anthony’s sexual assault at the hands of a catholic priest when he was a kid. however, it shows him still going to confession and the movie doesn’t dive deeper into what it must be like for those devout to their religion who experienced unimaginable evil at the hands of the very people they were told to trust most. the film becomes so hellbent on trying to scare you and make possessed anthony into a terrifying villain that it forgets about all of the themes and ideas it presents in the first half. faith and the divide between good and evil are kind of prerequisites for movies like these, but the exorcism can't be bothered to explore them. you start to realize how seriously this movie takes itself, a stark contrast to the meta comedy that makes the first act so enthralling. miller’s direction and scare tactics simply don’t match this subgenre of horror. the classic jump scares are created out of loud, obnoxious pangs of the score and the grim, bleak lighting that is meant to create atmosphere just cheapens the entire production, resembling a forgotten 2000s remake. the intensity with which the film tries to scare you doesn’t match the somewhat silly idea that the movie is founded on. the atmosphere and overall feel of the film become an attempt at an ari aster movie but with none of the rich characters and themes to make it work. anthony’s possession is seemingly meant to mirror regan’s in the exorcist. instead of a fresh twist on the “young girl gets possessed and needs to be saved by an adult,” it makes for some bizarre and downright uncomfortable moments. anthony lingers licking on his own daughter's hand as she gives him his meds and when the demon has fully taken over, he makes outrageous sexual comments towards her as well as using homophobic slurs. for a film that is seemingly trying to take a modern approach to ‘70s horror, moments like this send it all the way back to the dark ages. on top of that, his own daughter has to watch him appear naked, and, in a nod to an early scene in the exorcist, urinate on himself. it’s creepy but for all the wrong reasons. top this off with an egregious comment from peter about anthony's sexual assault, and you have some of the most outrageously callous dialogue in recent horror. with so many recent religious horror hits, from immaculate which sees the horrors of how women are treated within the catholic church to the first omen examining the parallels between the evils of the church and the entities that it claims to protect us from, the exorcism feels even more outdated. like the exorcist: believer, there’s a grotesque mention of abortion for no reason and there’s an unignorable pro catholic church message. instead of dissecting anthony’s complicated relationship with priests and his faith, it hails father conor as the ultimate hero, shedding the film of any nuance in its conversations around faith. as much as this writer detested the pope’s exorcist, it can’t be denied that russell crowe was having a lot of fun in that movie   the image of him riding a moped in full priest getup is a gift in itself. here, however, his heavy handed and overly somber performance doesn’t go in line with the meta concept of the film. sure, he’s a struggling actor past his prime who has gone through considerable trauma, but crowe doesn’t let us see past those aspects of anthony. he’s defined by his dark past and the exorcism makes the fatal (and very common mistake) of asking the audience to invest in a character it doesn’t bother to fully form. simpkin’s lee ends up carrying the film to the end, aided by her sweet romance with bailey’s blake. the film landed two great actors for its supporting roles, sam worthington and david hyde pierce. for the star of two of the highest grossing movies of all time, worthington is given shockingly little to do. pierce is confident in the role of the good natured priest, but when his character seems to go against the ideas the film presents, it's hard to separate it from the performance. the exorcism seems to be a capitalization on the recent surge in interest in religious horror movies. instead of being a remake, requel, or reboot, it set out to do something different while paying tribute to the ‘70s religious horror greats. it’s a commendable idea when the horror genre is inundated with uninspiring retreads of former glory. however, a fun concept does not automatically mean a quality film, as the overly intense direction, hollow scares, and imbalance of tone make it a thrown together mess. your comment has not been saved the exorcism has an interesting idea at its core but ultimately falls victim to its self seriousness and empty scares. the exorcism comes to theaters in the u.s. starting june 21. get tickets we want to hear from you! share your opinions in the thread below and remember to keep it respectful. your comment has not been saved this thread is open for discussion. be the first to post your thoughts. just because it’s warm and sunny outside doesn’t mean you can’t enjoy a dark and chilling horror movie! "solo, solo! i look like crap, solo!" “think you used enough dynamite there, butch?” shinzō wo sasageyo! family movie night got a whole lot more interesting. mmm, monke.

earofnewt.com interviews with rock legends since 1982 hey, sorry if that headline made you think this is a review of the new horror flick the pope’s exorcist. i haven’t seen that movie, which stars academy award winner russell crowe as the chief exorcist of the vatican, battling demons for the souls of the possessed. the plot just reminded me of another vatican based supernatural flick, 2011’s the rite, which also featured an oscar winning actor anthony hopkins as the aging exorcist. in my role as a horror movie critic for a vancouver paper i got flown out to beverly hills just before the rite was released to see an advance screening and sit in on some roundtable interviews with the actors, including hopkins. that was cool, because i’d loved his previous work in scary flicks like magic and the silence of the lambs. but the rite really sucked, which is one reason why i have no desire to rush out and see the pope’s exorcist. and besides, no one will ever match william friedkin’s original exorcist of ’73. anyway, in case you were planning on watching the rite on netflix or something crazy like that, here’s my 2011 review: the rite is a horror movie about a seminary student who teams up with a seasoned exorcist to vanquish demons in rome. its plot hinges on the doubts that both the novice and the expert have about demonic possession, and by the time it’s over, you’ll be doubtful too about whether the world needs any more exorcism flicks. ireland’s colin o’donoghue makes his feature debut as youthful skeptic michael kovak, who is carrying a ton of spiritual baggage after being raised by an overbearing undertaker dad (rutger hauer). kovak is sent to rome to study exorcism at the vatican and learn about the trade firsthand from the unorthodox father lucas trevant (anthony hopkins), whose own beliefs about demonic possession aren’t clear. the rite’s most shocking scenes involve the demon battling duo’s ongoing exorcism of a pregnant teenager who may have been raped by her own father. it’s tough enough seeing an innocent young girl get twisted and contorted by the raging forces of evil, but when she’s doing the possession polka with a bellyful of baby, it’s twice as hard to watch. judging by the rite’s promotional campaign, its backers are clearly pinning their box office hopes on the idea that folks still want to see hopkins get scary as hell, as he did to oscar winning effect in 1991’s the silence of the lambs. but although hopkins shines when his evil infused priest exhibits low level nastiness like backhanding a small child seeking comfort from his touch his climactic exorcism scenes don’t ring true and aren’t very frightening. despite his best intentions, the 73 year old actor just can’t cut it as the new linda blair. type your email… continue reading

by pete hammond awards columnist/chief film critic the exorcist directed by william friedkin and written by william peter blatty is considered, still, perhaps the greatest horror film of all time, certainly the most popular. the 1973 movie was even nominated for 10 oscars and won two, unheard of in the genre at that time. it has been endlessly imitated for the past half century right up to now, recently and notably david gordon green’s critically reviled 2023 reboot the exorcist: believer, which even brought original exorcist star ellen burstyn back into the fold after all these decades. but the og is impossible to touch, so what was going through joshua john miller’s mind when he decided to take on a new film so closely linked to it? director and co writer (with m.a. fortin) of the exorcism, miller has the 1973 film in his family bones, even if he wasn’t born until a year after its release. his father is jason miller, the late playwright and actor who so memorably played the doomed father karras, who jumped out the window during the climactic exorcism, in friedkin’s film. it brought miller an oscar nomination for supporting actor, and as his son says dad would often tell him the famous stories of the film’s making in which, lore would have it, several people connected with it died or were haunted by it in the ensuing years. even a book has been written on all of this. with all this background in mind, plus the demons of the trump era in their heads. miller and fortin began writing the exorcism in 2019, setting it cleverly as a movie, “the georgetown project”, within a movie about the making of a film eerily like the exorcist in which the demons start to take over, particularly for the film’s leading man, tony miller (the last name no accident), played by russell crowe as a down on his luck former action star beset with alcoholism and drug use because of his own demons after feeling guilty for abandoning his wife during her fatal illness, and their teen daughter lee (ryan simpkins). trying to make a professional and personal comeback, he auditions for the role of father arlington, the exorcist in a new film being directed by a rather tyrannical filmmaker, peter (the middle name of 1973 film’s writer, heh heh), played by adam goldberg. peter is out for authenticity and basically psychologically tortures tony into giving him the performance he craves. as we learn in the film’s creepy opening, the original actor cast in the role mysteriously dies on the set and had to be quickly replaced. the curse is on. or is it? miller and fortin are looking for much more here than a standard exorcism film though, and much is made of tony’s renewed attempts to win back the love and trust of his 16 year old daughter as circumstances bring them back together and she begins to notice his crumbling condition, helping him not only at home but also on set as a production assistant. real life problems merge with reel life problems as tony’s immersion into hi character takes on unforeseen dimensions and, well, terror. crowe lifts this material significantly, even if it might appear to be a paycheck movie for this celebrated oscar winner. just a year after his starring role as a real life vatican priest and exorcist in the underrated the pope’s exorcist he is back in the genre; but fear not, it is demonstrably different as we watch tony’s own demons get out of hand. unfortunately for the latest film, though, it also falls prey to the tropes of the genre and sails out of control in the final third, thereby squandering its intriguing premise and succumbing to the suits who demand the stereotypical frights for this kind of movie. goldberg, perhaps morphing into the kind of demanding director the late great friedkin was rumored to be in making his masterpiece, is fitfully amusing as a filmmaker with only his own needs on his mind, much to dismay of his star. sam worthington as joe, a co star who plays the sidekick for tony, is sadly given little to work with here, as is the lively chloe bailey as another co star and musician. david hyde pierce is earnest to a fault as the priest hired as a consultant for the film, but the character doesn’t quite seem to jell. in the end, the exorcism, despite the best efforts of crowe and the initial promise of taking the familiar into unfamiliar territory, just doesn’t quite jell itself, but i will give it an amen for the game effort. producers for the miramax production are kevin williamson (scream, i know what you did last summer), bill block and ben fast. title: the exorcismdistributor: verticalrelease date: june 21, 2024director: joshua john millerscreenwriters: joshua john miller and m.a. fortincast: russell crowe, adam goldberg, ryan simpkins, david hyde pierce, chloe bailey, sam worthingtonrating: rrunning time: 1 hr 33 min get our breaking news alerts and keep your inbox happy. signup for breaking news alerts & newsletters by providing your information, you agree to our terms of use and our privacy policy. we use vendors that may also process your information to help provide our services. this site is protected by recaptcha enterprise and the google privacy policy and terms of service apply. get our latest storiesin the feed of your favorite networks we want to hear from you! send us a tip using our annonymous form. sign up for our breaking news alerts by providing your information, you agree to our terms of use and our privacy policy. we use vendors that may also process your information to help provide our services. this site is protected by recaptcha enterprise and the google privacy policy and terms of service apply. deadline is a part of penske media corporation. © 2025 deadline hollywood, llc. all rights reserved. by providing your information, you agree to our terms of use and our privacy policy. we use vendors that may also process your information to help provide our services. this site is protected by recaptcha enterprise and the google privacy policy and terms of service apply.

the genre horror film from director joshua john miller will see an exclusive theatrical release beginning on june 21. by kevin dolak the trailer for the latest take on the demon extraction genre dropped on thursday with a first look at the exorcism, which stars oscar winner russell crowe as an actor who begins to unravel while filming a supernatural horror film. the exorcism, from director joshua john miller, will see an exclusive theatrical release beginning on june 21. in this go around in the genre that has captivated audiences since 1973’s the exorcist, crowe is joined by ryan simpkins as his character’s estranged daughter, who begins to suspect her father’s troubles are more sinister than a relapse into former addiction issues. per the logline, crowe stars as anthony miller, a “troubled actor who begins to unravel while shooting a supernatural horror film.” the cast is rounded out with several notable supporting actors, including sam worthington (avatar: the way of water), chloe bailey (praise this), adam goldberg (the equalizer) and david hyde pierce (frasier). miller teamed up with co writer m.a. fortin on the exorcism, their second film together. the two shared a writing credit on the upcoming project and the hit series queen of the south; the duo also wrote and produced the final girls. miller began his decades long career in hollywood with a role in kathryn bigelow’s vampire genre favorite, near dark. miller said the film idea stemmed from his childhood spent watching his father, jason miller, playing the doomed father karras flinging himself out a window at the climax of the exorcist. “if that wasn’t haunting enough on its own, my dad never shied away from telling me stories of just how ‘cursed’ the movie was: the mysterious fires that plagued the production, the strange deaths, the lifelong injuries   the list went on and on. the lore of any ‘cursed film’ has captivated me ever since,” he said in a statement. “with the exorcism, we wanted to update the possession movie formula (‘heroic man rescues woman from forces she’s too weak and simple to battle herself!’) for a world where no one group owns goodness and decency over another,” he continued. “we were gifted with an extraordinary cast and creative team to tell a story about how we’re all vulnerable to darkness, to perpetuating it, if we fail to face our demons.” north american rights to the horror film, formerly known as the georgetown project, have been acquired by independent distributor vertical. it was produced by miramax, kevin williamson and outerbanks entertainment. sign up for thr news straight to your inbox every day get the scoops first! breaking news and interviews on comics, sci fi, horror and more send us a tip using our anonymous form.

sign up for insightful, in depth stories   completely free. privacy policy thank you for registering! watch your inbox for our newsletters. an account was already registered with this email. please check your inbox for an authentication link. sign up for insightful, in depth stories   completely free. fort worth report free. fair. local. sign up for essential news for the fort worth area. delivered to your inbox   completely free. after portraying the vatican’s o.g. in last year’s “the pope’s exorcist,” russell crowe ventures into a new realm in the supernatural thriller “the exorcism.” this time, he’s not a priest battling satan but an actor wrestling with his own demons in a role that showcases the oscar winning actor’s versatility. yes, the prince of darkness shows up, possessive as always, as the movie within a movie concept featured in the film recalls william friedkin’s 1973 classic. there’s a reason for that. director joshua john miller is the son of jason miller, who played father damien karras in “the exorcist.” the film opens on the closed set of a new horror film, “the georgetown project,” with danny bensi and saunder jurriaans’s eerie score setting the mood. the familiar brownstone, reminiscent of the macneil residence, instantly recalls 1973’s “the exorcist.” an actor (adrian pasdar) walks through the fabricated home, split open on a soundstage, reciting lines while preparing for his role as chief exorcist. he’s not alone. tragedy strikes the haunted set. time to recast. interesting trivia: pasdar starred with director miller in kathryn bigelow’s 1987 vampire film “near dark.” crowe plays a washed up actor named tony miller, who fell from grace while battling drug and alcohol abuse. he lost his wife to cancer, and he’s estranged from his teenage daughter lee (ryan simpkins). when she’s expelled from a catholic boarding school after protesting the firing of a gay counselor, she returns to live with her father. the two slowly begin working on their fractured relationship. simpkins delivers a mature performance as a teenager forced into the caregiver role by her unstable father. tony auditions for the exorcist role and gets it after groveling in front of the a hole director peter (adam goldberg), who hangs the actor’s troubled past over his head, leading to a few humiliating moments. crowe’s performance is much better than the film. he gives 100% as tony battles his inner demons, including guilt and regret. the supporting cast includes chloe bailey as blake, an actress playing the possessed linda blair role, and sam worthington as joe, an actor cast as the second priest alongside tony in the “georgetown” film. these are interesting casting choices, especially since both are talented actors whose roles are diminished to a few scenes. bailey at least gets a romance scene with simpkins, but worthington is just wasted; the role could have gone to an unknown actor. the surprise here is david hyde pierce as father conor, a priest serving as a consultant on the film set. the “frasier” star, cast against type, is very good as the frail and humble man of the cloth whose interactions with tony trigger memories of sexual abuse at the hands of a priest when tony was young. get essential daily news for the fort worth area. sign up for insightful, in depth stories   completely free. joshua john miller and his partner m.a. fortin, the two have been in a relationship for over two decades, cowrote “the exorcism,” incorporating queer themes with those of abuse, giving the story deeper context which could have been explored further had the film been imagined as a psychological thriller (as in the better first half) rather than a typical horror film, as it becomes by the finale. over the last 50 years, stories have emerged of bizarre occurrences during the filming of “the exorcist,” from fires and technical problems to nine deaths. jason miller used to tell his son stories about the cursed production of the film, which inspired “the exorcism.” crowe’s character battles many of the real demons that miller’s father fought, including alcohol and drug abuse. when the jump scares become more frequent, and the overdone cgi kicks in, the film loses its mojo and becomes a parody of the 1973 classic. once satan shows up for his big cameo, you’re not sure if he’s taken control of tony or if crowe’s character is on a bender. here, possession means glassy, blood shot eyes and a nasty temper. (2 ½ stars) now showing in theaters fort worth report is certified by the journalism trust initiative for adhering to standards for ethical journalism. republish this story republishing is free for noncommercial entities. commercial entities are prohibited without a licensing agreement. contact us for details. this work is licensed under a creative commons attribution noderivatives 4.0 international license. by joe friar, fort worth report june 23, 2024 member of the critics choice association (cca), latino entertainment journalists association (leja), the houston film critics society, and a rotten tomatoes approved critic. more by joe friar mailing address: p.o. box 50216, fort worth, tx 76105phone: 817.405.9318email: hello@fortworthreport.orgnewslettersdonatemedia kitmerch shopprivacy policy our missionwe pledge to produce high quality objective local journalism that informs public decision making, addresses the quality of life of our community’s citizens, holds our policymakers accountable and tells our readers’ stories by listening to them and making sure they are valued and understood. in all that we do, earning the trust and respect of our audience is paramount. our reporting will be free to all who access our primary digital channels. this site is protected by recaptcha and the google privacy policy and terms of service apply. enter the code sent to your email. email address enter your password sign in by entering the code we sent to , or clicking the magic link in the email. privacy policy. this site is protected by recaptcha and the google privacy policy and terms of service apply.

infamously one of the most “cursed” movie sets of all time, 1973s the exorcist is a cinephiles dream for insane haunted film set stories. whether it’s mechanical equipment weirdly malfunctioning, untimely deaths of crew members after production, or unsettling atmospheres while filming, these stories were told by the exorcist actor jason miller (who played father karras) to his son, joshua john miller, who used these stories to create his own film, the exorcism. anthony miller (russell crowe) is an actor burdened by a past of addiction and troubled behaviours. but when a tragic on set incident occurs to the lead actor of a horror film, it gives anthony the chance to redeem his career in the face of his recent sobriety. anthony invites his estranged daughter, lee (ryan simpkins) to the film set in an attempt to reconnect with his, but when signs of anthony’s troubling past behaviour begin to reemerge, lee must discover whether her father’s addiction is taken hold once more, or if this film set holds a more sinister power over him. joshua john miller’s close connection to the stories from the exorcist seem as if they would make a fascinating screenplay, and the concept of this film plays around with the stories against an interesting backdrop of how an actor would react in those situations, while battling demons of his own. however, the exorcism really only works in concept, as the execution leaves a lot to be desired. the film often struggles with its tonal balance. the intense character drama it feels like it wants to be is only fleshed out enough to be at a surface level of substance. the relationship between anthony and lee starts the film of as the central story, and when the film should be developing their relationship more, the story shifts to the film set where the “jump scares” begin. in between the scares, the exorcism decides to introduce multiple characters and subplots, including a priest who is the film’s advisor, played by david hyde pierce, and an up and coming actress, played by chloe bailey, who befriends lee, leading to a subplot about both characters bonding through the tension and exploring their sexuality. the number of plots introduced, but limitedly explored, bloats the film with elements that may have been more interesting if they were in their own films, but do not work together cohesively. after a shocking opening scene that sets up a solid expectation of the horrors to come, it is unfortunate that the majority of the tension and scares feel generic and don’t give the idea that some of these events could have possibly happened in real life. it gets to the point towards the final act of this film where a 3 2 1 countdown to each jump scare makes the horror entirely too predictable, before falling into overused possession tropes. the cast attempt to do what they can with the screenplay, bringing far more engagement and authenticity to the dramatic elements of the screenplay, rather than the horror. russell crowe has this ability to convey so much pain in his face and vocal cadence that anthony doesn’t feel like a caricature of addiction. ryan simpkins and chloe bailey have decent chemistry together, and their bonding through the tension of being on this haunted set, whilst dealing with their own complicated feelings is the primary reason their subplot is arguably the most engaging. the exorcism has the foundations of a film that should be a true hit for horror fans and cinephiles. inspired by the true stories from the set of the exorcist, it’s unfortunate that the horrors of this film fall flat with predictable jump scares and underwhelming tension. alongside underdeveloped character drama, there’s just too many elements not working well enough together for an enjoyable time. the exorcism is in cinemas june 13. be the first to leave a review. your browser does not support images upload. please choose a modern one novastream brings you the latest in movies, tv, games, tech and pop.culture. © 2022 novastream. all rights reserved.

joshua john miller’s possession horror the exorcism hits theatres this weekend, giving us all another dose of religious russell crowe (the nice guys). this go around, crowe plays struggling actor anthony miller, recovering from a decade of bad press and hard living, desperate for his newest picture (an exorcism movie) to bring him back into the light. its scares are pretty boilerplate, but it’s got a great concept and a self aware understanding of what kind of movie it is which makes for some great moments of meta horror. of course, above all else, it stars russell crowe which, for most of us, is reason alone to buy a ticket. we’re all still living in the post glow of julius avery’s surprise hit the pope’s exorcist. an immediate cultural sensation (if you’re consuming the right culture), russell crowe gave us the performance of the year as father gabriel amorth, a brilliant but tortured exorcist and close personal friend of the pope. father gabriel amorth would later go on to appear in nearly every best of the year list worth its salt, not to mention an appearance in wrestlemania 39! needless to say, the exorcism had some big shoes to fill in the ever expanding russell crowe vs some demons canon. and for good or bad, joshua john miller’s new possession flick was always going to be compared against a movie completely unlike his own. the pope’s exorcist was a wild ride, and an introduction to what is sure to become franchise competition for the conjuring universe. while it (in all its religious superhero origin story glory) was a lower budget action horror, the exorcism is a much more subdued and psychological horror story about confronting demons. personal demons, professional demons, actual biblical demons  russell crowe’s anthony miller faces them all head on in a battle of good & evil that threatens to consume his eternal soul and his dwindling career. miller, who also wrote the 2015 horror comedy the final girls, has a real knack for crafting a meta story. the final girls brought fans into the world of a 1980s slasher, but the exorcism plays with the concept a cursed film production. by shifting between the movie in a movie, and the “real life” of the actors, the film gets to play with the expected tropes of a possession story. despite itself also being a fairly by the books religious horror, the movie pokes fun at the over worked trapping of the subgenre by showing us what a less than stellar version of the movie we’re actually watching would look like. sadly, when it shifts gears from satire to serious scares, it’s kind of indistinguishable from the movies it’s parodying. the exorcism starts strong, coming in like a bat out of hell with some creative flourishes that really promise something new in the possession horror space. over time it loses some of that luster despite a talented supporting cast that includes david hyde pierce (wet hot american summer), ryan simpkins (fear street: part two   1978), chloe bailey (a wrinkle in time), sam worthington (terminator: salvation), and adam goldberg (saving private ryan). religious horror has always been a bit of a challenge for me, but at times the exorcism seemed just as bored with its own premise as i was. there is some really exceptional work done here but at every turn, just as the story was starting to come back together, i would lose faith in it again. i’m sure the first draft of this story was a no holds barred battle of good & evil, but what i had hoped would be another year defining entry in the exorcism hall of fame is, unfortunately, just another commonplace catholic creeper. joshua john miller’s the exorcism is in theatres now! let us know what you thought of this exorcism horror over in the nightmare on film street discord. the power of chats compels you! welcome to nightmare on film street   the best horror movie podcast for those who love a side of humor with their scares! ever wish you could keep the conversation going after a great horror movie? join horror hosts kimmi and jon every thursday as they explore the horror genre in a way that’s engaging, humorous, and refreshingly candid. forget the in depth analyses and pull up a seat for lively, friendly banter that feels just like a post movie chat with your best pals at a local bar. on apple podcasts, spotify, and wherever podcasts lurk! get more nightmares in our fiend club on patreon for exclusive bonus content and rewards that will tickle your horror fancy. join us, if you dare!

a troubled actor begins to exhibit a disruptive behavior while shooting a horror film. his estranged daughter wonders if he's slipping back into his past addictions or if there's something m... read alla troubled actor begins to exhibit a disruptive behavior while shooting a horror film. his estranged daughter wonders if he's slipping back into his past addictions or if there's something more sinister at play.a troubled actor begins to exhibit a disruptive behavior while shooting a horror film. his estranged daughter wonders if he's slipping back into his past addictions or if there's something more sinister at play. © 1990 2025 by imdb.com, inc.
what to watch supported by russell crowe stars as an actor playing an exorcist who’s battling his own demons. by alissa wilkinson when you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission. “the exorcism” starts from an instantly compelling premise: on the set of a horror movie about an exorcist, demons lurk. horror films often tap into ancient fears rooted in myth; this is just a more modern one. as one character tells another, “all kinds of things happen on the sets of devil movies.” then she names a few examples: “‘the omen,’ ‘the exorcist,’ ‘poltergeist.’” it’s true   over decades, stories of freak accidents and deaths on those sets have grown into the kind of lore that can power its own horror film. that “the exorcist” is named in this list is a little funny, since the film within the film is clearly just a variant on william friedkin’s influential 1973 classic. the nested movie is even called “the georgetown project,” a reference to the setting of “the exorcist.” (“the exorcism,” directed by joshua john miller from a screenplay he wrote with m.a. fortin, seems named to provoke the comparison, too, though that also makes talking about it a little confusing.) what’s more, the first scene in “the exorcism” reveals that “the georgetown project” is about a priest having a crisis of faith who is called to cast a demon out of a teenage girl, and that the house built on the soundstage is a dead ringer for the more famous movie’s set. in other words: in “the exorcism,” they’re basically making “the exorcist.” religious horror   which is to say, horror movies that specifically evoke religious imagery   can be hopelessly hokey, thoughtlessly appropriative, or thoughtful. i’d put “the exorcist,” one of hollywood’s best meditations on faith and doubt, in the thoughtful camp, and for the first half hour of “the exorcism,” i though it would land there too. it’s about a famous actor named tony miller (russell crowe, looking sufficiently tortured), whose addictions and grief have recently derailed his career and life. he is given a chance to star as a priest in “the georgetown project” by its cranky jerk of a director (adam goldberg) after the role is suddenly and violently vacated. tony thinks it is the salvation he needs. catholic symbology plays an outsized role in horror   thanks, in no small part, to the influence of “the exorcist.” often movies end up grappling with whether the words, rites and sacramental objects of the catholic church have power of their own, regardless of the beliefs and righteousness of the wielder. “the exorcism” dips into this inquiry but goes further.