Skip to main content

The Exorcism (2024)

 


The Exorcism is about an actor hired to play a priest in an exorcist-style movie who gets possessed.

Joshua John Miller wrote and directed the film. He's probably best known for writing The Final Girls, and this is his first time directing in over two decades. In terms of writing the film is a slow burn that draws you in for who the characters are to build up to the finale. There are some jump scares and moments of terror and for a horror that's a must. 

Russell Crowe plays the actor who is haunted by events in his past and can really transform at the drop of a hat into the demon-possessed version of his character. He's not really had a lot of love from Hollywood as they tend to put him in roles to remind us how far he's fallen from the limelight. 

Ryan Simpkins plays Crowe's lesbian daughter. It's important to the end of the film that she's lesbian. She does a good job as a daughter who has a lot of conflict with her dad. You might remember her as Alice from Fear Steet: Part Two and Three. She was great and I totally lost her in this role.

This isn't the first time Crowe and Adam Goldberg have acted together as they were in A Beautiful Mind together where Goldberg played Sol, he was also Private Mellish in Saving Private Ryan. He plays the jerk director in the film who berates Crowe.

The film was entertaining and scary, but the horror was too far in between. Result B-


Comments

Popular posts from this blog

The Housemaid (2025)

The Housemaid (2025) is directed by Paul Feig , best known for comedies like Bridesmaids and Freaks and Geeks , and the tonal clash is noticeable. Feig leans into slick presentation and surface-level tension, but the film never quite reconciles its thriller ambitions with its obvious messaging. As an adaptation, it feels safer and more predictable than it wants to be, especially given how clearly it telegraphs its twists. Sydney Sweeney , known for Euphoria and Anyone But You , plays a down-on-her-luck woman recently out on parole who is desperate for work. She does what she can with the role and brings some emotional weight early on, but the writing limits her range. Her character cycles through bashful and annoyed so often that it starts to feel repetitive rather than psychologically layered. Amanda Seyfried , recognizable from Mamma Mia! and Mean Girls , plays the wealthy woman whose life slowly unravels as the power dynamic flips. Seyfried is solid and more controlled than Sw...

Marty Supreme (2025)

Marty Supreme (2025) is written and directed by Josh Safdie , who previously directed Good Time and Uncut Gems . This film carries that same frantic Safdie energy, with constant motion and pressure that rarely lets the audience breathe. It is chaotic by design, sometimes to a fault, but the intensity feels intentional rather than sloppy. Even when the pacing threatens to overwhelm, the film remains compelling due to the strength of its performances. Timothée Chalamet , known for Dune and Call Me by Your Name , plays the title role and fits it perfectly. He fully commits to the character’s ambition and volatility, balancing confidence with insecurity in a way that feels natural for him at this stage of his career. This is not a transformative performance, but it is a highly effective one, and he clearly understands the rhythm and demands of a Safdie-style film. Odessa A’zion , who audiences may recognize from Grand Army and Hellraiser (2022) , is a standout as the love interest. S...

Anaconda (2025)

Anaconda (2025) is a reboot comedy of the 90s film, written and directed by Tom Gormican , who previously delivered the clever and self-aware The Unbearable Weight of Massive Talent . Unfortunately, that lightning does not strike twice. The core problem is simple. The jokes do not land. If horror films are judged by scares per minute, then comedies should be judged by laughs per minute, and this one delivers virtually none. Any humor that works was already burned in the trailer, leaving the film feeling empty and painfully drawn out. Jack Black , known for School of Rock and Jumanji , leans heavily into his loud, chaotic persona, but here it becomes grating rather than charming. His performance feels unchecked and repetitive, as if volume alone is meant to substitute for comedy. Instead of elevating scenes, he often drains them of momentum. Paul Rudd , who audiences know from Ant-Man and I Love You, Man , somehow comes off just as irritating. Rudd is usually likable even in weak m...