The Exorcism
In Joshua John Miller’s “The Exorcism,” Anthony Miller, played by Russell Crowe, is an actor and a recovering addict who gets fitted in the shoes of a priest who is terrorized by demons. The character Crowe plays breaks down under the unrelaxing direction of Goldberg, and to bizarre extremes of course. Audiences’s first hand experiences in the movie exorcism stir up into a panic whereby great critics and junkies will think of the physician of demonic possession, the Exorcist. It is in their quest for exploring this tertiary relation that they will confidently state that the perfect draught or perfect direction has not been once and more adapted since the 1973 year.
Joshua John Miller is the son of Jason Miller, who is also known for vividly portraying Father Karras in the classic “The Exorcist” film. It’s also interesting that the title of this film within ‘The Exorcism’ is ‘The Georgetown Project,’ which cunningly draws on the area of Washington, DC, where the film ‘The Exorcist’ was set.
One of the very interesting facts about this movie is that it is said to be inspired by ‘The Exorcist’ and appears to record the very unusual events that took place during Jason Miller’s period film shoot. It is not beyond imagination that most of the real bizarre and well documented events which took place during shooting in the 70s are even more created in this motion. One can almost picture and hear Jason’s goblin like songs and stories which he was waiting till now to let his son hear.
The primary aim is not truly may be described in that admixture of fruitful hypotheses and clinical studies that is why for the latter and for some other reasons ‘The Exorcism’ is turning out to be more a meta-psychological quest than a proper horror film. For example if people talk about horror, then while watching the movie there are some scary or disturbing things shown, but to the extent that most people will consider it horror is out of bounds. There are a few sections with small jump scares, but this particular movie lives in this strange sociopathic space.
Occasionally, an actor gets a chance to vindicate one of the works they have previously done, but in this film, Crowe’s contribution is deeper and richer than the one he did in “The Pope’s Exorcist.” Ryan Simpkins is commendable when playing an ungrateful caring daughter as a rebel worrying about her father’s well being and sobriety. Another mention of praise goes to Adam Goldberg for effectively delivering one of the most brutal kinds of directors which an actor can ever encounter, a director who has no qualms for the person but is solely concerned about the work.
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