‘The Pope’s Exorcist’ Review: The Power of Christ (and Russell Crowe) Mostly Compels You in Yet Another Possession Chiller
variety.comGuy Lodge Film Critic On the face of it, “The Pope’s Exorcist” would have you believe that it’s rooted in the real-life experiences of the late Father Gabriele Amorth, the Catholic priest who served for 30 years as the head exorcist of the Diocese of Rome.
Its screenwriting credits proclaim as much, for starters, while a surfeit of onscreen dates and locations in the early going lend proceedings the faintest of docudrama veneers; moreover, the film is backed by the non-profit production arm of the Jesuit research university Loyola Marymount, with Loyola rector Father Edward J.
Siebert among its executive producers. Even Catholics in high places, it turns out, have a sense of humor: You needn’t wait for the “work of fiction” disclaimer in the closing credits to discern that “The Pope’s Exorcist” is ripely fantastical trash, inspired by Amorth’s work in much the same way that SunnyD is inspired by Florida oranges, and no less enjoyable for those liberties.
Rather than the Bible or any of Amorth’s autobiographies, Julius Avery’s film instead swears by the trusty story template shaped by every demonic-possession horror film since “The Exorcist” a full half-century ago, as a hapless American teen is inhabited by an ancient minion of Satan with increasingly yucky, upchucky consequences, while a venerable priest is called upon to clear up the mess.
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