(2012) Supernatural Horror (InSurge/Paramount) Fernanda Andrade, Evan Helmuth, Simon Quarterman, Ionut Grama, Suzan Crowley, Bonnie Morgan, Brian Johnson, Preston James Hiller, D.T. Carney, Maude Boranni, Marvin Duerkholz. Directed by William Brent Bell
Ah, Blair Witch Project, what hath thou wrought? Here is yet another in the long line of recent found footage films (i.e. Cloverdale, Apollo18) which to be honest are becoming rather gimmicky. While the Paranormal Activity series has been well-received both by critics and audiences alike, it is quickly becoming an excuse for sloppy camera work and poorly constructed plots.
Studios like these kinds of movies because they are extremely inexpensive to produce and when they hit it big, they can really upgrade the studio’s tax bracket. Even when they don’t hit it big, it doesn’t take much for them to make a profit and when they don’t, it’s not much of a write-off so it’s a win-win situation for the studio.
For audiences, however, it can be another matter. Maria Rossi (Crowley) was a Connecticut housewife who in 1989 killed two priests and a nun during an exorcism ceremony. She was found not guilty by reason of insanity and later moved from an asylum in Connecticut to one in Rome. Her daughter Isabella (Andrade) who was a little girl when her momma went all medieval is ready to visit her mom for the first time since then and in the fine tradition of reunions everywhere wants to film it, taking with her Michael, a somewhat slimy cameraman (Grama).
In Rome she is given permission by the Holy See to film an exorcism class where she meets Fr. Ben Rawlings (Quarterman) and Fr. David Keane (Helmuth), a couple of young exorcists-in-training who chafe under the Church bureaucracy and are eager to go off and perform exorcisms on those who as they put it “have fallen through the cracks of the Church.” Naturally they become interested in Isabella’s case but they want to show her a real exorcism first, so they take her to visit Rosa (Morgan), a cruelly possessed teenager. After that, the two renegade priests visit Maria in the asylum and, as you can imagine, all Hell breaks loose.
I will grant you that the movie as much as I’m ripping on it does do a good job basically from the time Isabella gets to Rome and through the exorcism attempt of Maria in setting up the right mood. There are a few startle-scares (big dogs parking, loud crashes) but for the most part this is more atmosphere than gorefest. Those looking for demons and beasties best look elsewhere.
The acting, as it is in many of these sorts of films is just competent at best. Maintaining the illusion of reality means hiring unknowns and that is always a bit of a crap shoot. But then again, who goes to these sorts of movies for the acting?
A movie like this has to keep the viewer interested in what’s going to happen next and elicit a sense of dread from the audience (after all, the footage had to be “lost” before it was found and there’s usually a reason for that) but part of the problem is that you kind of know before the movie even starts that bad things are going to happen to the people in the film and it’s not going to end well for them. In a sense, their own genre works against them. For that reason, we need to care about the characters and quite frankly, the writers of the movie didn’t even care enough to make them anything more than cookie cutter characters.
Much of the audience anger (it has gotten very poor word of mouth) at the movie stems from the ending. I won’t spoil it other than to say it’s abrupt enough to give you whiplash, then refers you to a website for further information – which I did and while it gives you additional background information on the main characters and some of the other elements within the movie. I think the attention was to be innovative and turn the movie into a film/internet hybrid. While I think that’s a peachy concept, quite frankly it didn’t work well here and served only the make people really angry. The ending basically ruins the movie.
While some publications thought that Paramount was hoping for a Paranormal Activity-type franchise out of this film, I’m not so sure. I can’t see how this lends itself to a sequel, although I suppose it’s possible to have some other investigators investigate the happenings in the movie. I don’t think the found footage-style would work for that so much though.
The middle part of the movie was pretty good which is what makes this so sad. There is obviously potential here for a good movie, but then the horrible ending blows that to smithereens. It made pretty decent box office its first weekend (which I’m sure is what the studio was hoping for) but with the bad word-of-mouth and negative reviews I don’t foresee much staying power and I don’t think people are going to want to see a The Devil Inside 2. You can’t trample the goodwill of an audience and expect them to come back for more.
REASONS TO GO: Very creepy in places.
REASONS TO STAY: An ending that just about kills the movie. Makes you wonder if found footage movies have outstayed their welcome.
FAMILY VALUES: There are some fairly disturbing scenes and a couple of grisly images. The language is rough and as with most possession movies a lot of it is sexually based.
TRIVIAL PURSUIT: This is the first release of Paramount’s low-budget InSurge brand.
CRITICAL MASS: As of 1/20/12: Rotten Tomatoes: 6% positive reviews. Metacritic: 18/100. The reviews are scathing.
COMPARISON SHOPPING: The Last Exorcism
DEMONIC PSYCHOBABBLE LOVERS: While the exorcisms are conducted in English rather than Latin, there are references to demons and demonic lore.
FINAL RATING: 4/10