Joshua John Miller's The Exorcism is a meta possession horror movie tormented by the ghosts of the past and a strange shift in tone.
) has a shot at getting his career back on track. He’s been away from the job after battling addiction and the death of his wife. An act of horrific misfortune for another actor presents an opportunity. Tony can star in a remake of a famous horror movie. That movie is not directly named, but the title of this film probably gives you a good idea of what movie that is.
The first act is really strong, with the family drama putting in a strong yet understated showing. The creeping sense of a cursed movie within a movie is intriguing. There have been some fantastic modern examples, including Prano Bailey-Bond’s Censor, but the early promise unspools in an extremely messy back half.is making. His own history in the horror genre includes childhood parts in Kathryn Bigelow’s vampire movie Near Dark and Tommy Lee Wallace’s Halloween III.
Sadly, something shifts in the makeup of The Exorcism, which robs it of its intrigue and dramatic quality. The movie has suffered multiple delays, and there’s evidence of some significant interference from outside forces. You can almost pinpoint where executive doubt crept in. It’s at that point things devolve into the kind of boring possession movie nonsense. A decision that seems like a knee-jerk reframing of the movie.
More evidence of second-half shenanigans is that the ”film within a film” aspect of the story effectively drops to the wayside. Consequently, it only briefly cropped up again unearned at the film’s climax. When you’re going to riff on the idea of remaking The Exorcist, it really has to be followed through to ensure it’s not a pointless exercise. For one reason or another, that didn’t happen for Miller’s movie.
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