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The Ritual (15)

Director: David Midell
Screenplay: David Midell, Enrico Natale

Starring: Dan Stevens, Al Pacino, Ashley Greene
Running time: 98 minutes

Cinema

Review: Dave Stephens

Are exorcism movies now the equivalent of a retirement home for award-winning actors? Just saying. Because a little more than a year after the double-bill of Russell Crowe compelling us in The Pope’s Exorcist and The Exorcism, we now have the unlikely sight of Al Pacino in a cassock getting ready to “hoo-hah!” wayward demons. What’s next? De Niro in an Amityville instalment? That’s a little unfair, given that the original Exorcist films attracted the likes of Richard Burton, Max Von Sydow, George C. Scott and other lauded thespians. It’s only in relatively recent years that Exorcist-inspired movies have been met with a critical eyeroll and low expectations, somewhat similar to the never-gonna-stop cycle of Jaws rip-offs. Still, an Al Pacino horror film? That’s a rarity, with only The Devil’s Advocate and Insomnia coming close to the genre. All that aside, though, this is very-loosely-sort-of based on a true-life incident (which the on-screen credits are keen on reminding you of). Despite some misleading poster straplines and a similar set-up, it’s not the one that inspired The Exorcist (that would be Ronald Edwin Hunkeler in 1949), but another well-documented event in the 1920s. Directed and co-written by David Middel, who made another true-life story with The Killing of Kenneth Chamberlain in 2019, this has just been given a (very low-key) release in UK and US cinemas. But are we compelled to recommend it? (Spoiler alert: Not really)

 

It's 1928, and after a brief forward-flash (why do so many modern movies do this? Are they convinced audiences will walk if there’s no “action” in the first 30 seconds?), we meet the troubled Father Joseph Steiger (a strangely subdued Dan Stevens). Although everybody loves him in the parish, he is grief-stricken over the recent loss of his brother and is likely slipping towards a crisis of faith. All this internal anguish has to be paused, as Steiger is informed by his superiors that he is about to receive a special guest. Emma Schmidt (a game-for-it Abigail Cowen from “Stranger Things” and “Sabrina”) is a troubled young woman who either has severe mental problems or is possessed by demons. Either way, the church has arranged for Schmidt to undergo a sanctioned exorcism as delivered by the venerable Father Theophilus Riesinger (Al Pacino… no, really), who is both a Capuchin friar and a Roman Catholic priest. Steiger is only expected to “document” the process and arrange for three nuns to attend and support Schmidt. For several days, all present at these rituals will have their faith tested and their beliefs pushed to the limit.

 

The Ritual, which should not be confused with the (far-better) creature feature of the same name from 2017, should actually be called The Rituals since there’s seven of the damn things… and at no point does Christ compel anyone. It’s an odd kind of movie that fails for at least two reasons and wastes most of its cast but still has some positive things to note. That being said, it’s not great and will do nothing to stop the downward trend of exorcism films in terms of quality and box office takings. The major players here, such as Riesinger and Schmidt (known better as Anna Ecklund at the time), genuinely existed, but of course, it’s debatable as to whether any of the (unabashedly supernatural) events shown here happened. In this respect, the film has a cake-and-eat-it mentality that tries to semi-copy the tone of The Conjuring franchise. Whilst it underlines discussions between the characters, some of whom doubt that Schmidt has any hellish maladies and should be in hospital, it still gleefully pushes forward the horror cliches that are associated with it. Whispers in the shadows, mirrors splintering, Spiderman wall-hugging, neck bones cracking, and … yes … possessed-person-vomiting (but no pea soup). All accompanied by orchestral shrieks in the dark to ensure that the audience is jump-scared. Just don’t expect any mothers washing socks in hell or very inappropriate uses of a crucifix.

 

With Pacino and Stevens in the cast, it wouldn’t have been strange to expect the same over-the-top pantomime thrills that turned The Pope’s Exorcist into a sleeper hit. But the whole thing is played as straight as a die, and the cast rein in their scenery-chewing. Which is both good and bad news. In Pacino’s case, despite having an indeterminate European accent with a gargling-gravel growl to it, his performance is surprisingly subtle and effective, and he never goes overboard in the exorcism scenes. One particular scene has him talking to a character about why God allows suffering, and it’s oddly touching and strong. Even his daylight moments with Schmidt shine with some compassion and depth, as history between them is revealed in softer moments. However, it does seem odd to have Stevens in the cast and then see him play the character so laid back. Those used to him stealing scenes with oddball characters in films like Abigail and Godzilla X Kong will wonder why he never seems to get to grips with the complex character in a more dynamic way. Other actors like Ashley Greene and Patricia Heaton are also underused and are capable of supplying more emotional bite. By comparison, Cowen does a good job as the possessed Schmidt and wisely avoids Regan-like curses or affectations. You get the impression that there’s some extra footage somewhere that further proves she nailed the role, but it has hit the cutting room floor for running time and pacing issues.

 

There is one huge problem that pulls the film into the abyss (even though it might well be a personal gripe), and that is the horrible camerawork! Whether it was to create the aesthetics of a documentary, emulate found-footage styles, or simply artistic intent, the framing is all over the place and almost never sits still. Most of the time, it jitters like the cameraperson is extremely drunk and trying to keep their balance on a hoverboard whilst filming the action. Other times, characters' faces are zoomed in awkwardly, and movements are filmed so amateurishly that it’s just visual flashes. It feels like it’s a spin-off of The Office (“The Office-ist”?) or another reality TV parody. If you can surmise what happens to cause a nun to injure her hand, or exactly what Schmidt barfs up at some points, then you’re a better person than I am and won’t suffer from motion sickness. It’s blur city and extremely annoying.

 

Another minus point is the underwhelming ending. It is perhaps closer to the “truth” and makes more thematic sense than a grand levitation scene, one of the priests tumbling out of the windows, or Schmidt growing horns and spitting fireballs. But it comes across as anti-climactic and a weak point on which to end the storytelling. In a more positive sense, along with Pacino and Gowen’s efforts, there is a strong case to be made for the more subtle effects that the possession has on the characters that aid the possessed victim. Steiger’s guilt and his shrinking faith are exploited at times and carry (somewhat predictably) shades of Father Karras and his problems from The Exorcist. More interesting, however, is the effect that the events have on the surrounding nuns, which should have been explored more. Sister Rose is physically injured, embarrassed by her attraction to Steiger, and appears to be in the first throes of possession herself. Another nun is taunted by the voice of a dead relative but bravely overcomes the event, and others have their faith stretched in other ways. This subtle “fallout” is skirted over quickly, as is the harassment of Riesinger by a demonic monk (which is bizarrely never explained for context).

 

All of this would be bearable (if mediocre and somewhat predictable) for a studio “real-life” exorcism film. But, and this is morally wrong perhaps, you can’t help wishing for the more bombastic moments seen in other genre offerings, like the ones envisaged in the Conjuring movies and the (hugely underrated but excellent) movie version of The Exorcism of Emily Rose in 2005. Those are the problems here; it tries to meld the “gritty” and realistic tones of The Last Exorcism with shoddy camerawork and underplays the events, whilst never bringing any innovation to the proceedings or allowing most of its cast (especially Stevens and Greene) to go into emotional overdrive. There’s something compelling at its core, but it never surfaces to scare or enthral. Still, at least it’s not as bad as The Exorcist: Believer

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A watch-it-and-forget-it affair that has a Conjuring-Lite flavour. Pacino is surprisingly understated and effective as the friar, but everything else is short of the mark. A couple of nice plot elements and a decent turn by Cowen are pretty much crushed by horrible camerawork, predictable outcomes, and an underwhelming ending. Brings no friar love.
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