Review: The Last Exorcism (2010)

THE LAST EXORCISM (2010)

"Found footage" horror is a sub-genre that has long since passed its sell-by date. Early trailblazers like The Last Broadcast and The Blair Witch Project garnered attention for their novel presentation, allowing camcorder footage shot by the actors themselves to tell the story, while the recent Paranormal Activity kicked pulse rates into the stratosphere with a genuinely terrifying tale about a couple who uses a video camera to document poltergeist activity in their home. Cloverfield employed the same technique to record a monster attack on New York City, while the Spanish thriller Rec used a video camera to capture the effects of a mysterious viral outbreak. But a little of this genre goes a long way, and many horror fans have grumbled about the frequently low production value and unknown actors that tend to inhabit such movies.

Now here's The Last Exorcism, another "found footage" film, which hits theaters after an aggressive marketing campaign. Have producer Eli Roth, director Daniel Stamm, and screenwriters Huck Botko and Andrew Gurland managed to breath new life into this genre? (NOTE: From this point on, the review will contain minor spoilers.)

Rev. Cotton Marcus (Patrick Fabian) is a pastor undergoing a crisis of faith after his son is born with a bevy of medical problems. Having come to believe that many religious rituals, including the ancient rite of exorcism, are not only useless but downright harmful to its recipients, he allows a documentary film crew to follow him on one final case. His purpose is to expose exorcism for the charade that it is, and in a wonderful montage, Marcus reveals the many tricks a skilled exorcist can employ as part of the process. In the movie's single best scene, Marcus demonstrates that his flock pays so little attention to his teachings that a sermon based on biblical scripture and a competing sermon based on the merits of banana bread earn the same fervent reaction from his audience.

Marcus and his film crew arrive at the home of the quirky Sweetzer family, near Baton Rouge. Lonely widower Louis (Louis Herthum) is firmly convinced his daughter Nell (Ashley Bell) is in the grip of the devil. Nell, a charming teenage girl, seems to radiate warmth and sunshine upon meeting Marcus, and the reverend believes that a quick sham exorcism will serve as a placebo to rid Nell's father of his concerns. But Nell's suspicious brother Caleb (Caleb Landry Jones) doesn't make the pastor's job any easier.

It will probably not come as a surprise to learn that things don't go according to plan. Nell's circumstances are revealed to be far more complicated than originally expected, and Louis refuses to let anyone but the unwitting pastor cure his daughter, despite her clear need for medical attention.

Since leaving the theater I've been racking my brain, trying to think of the last time I saw a film that had such a strong ensemble cast. The acting in The Last Exorcism is nothing short of flawless. Ashley Bell is required to channel an amazing array of emotions during the course of the story, from the adorable innocence of Nell's introduction, to the frantic convulsions and glowering malice of her later scenes. Louis Herthum is always believable as Nell's gruff but loving father whose life is governed completely by scripture; such characters often cross the line into caricature, but Herthum allows Louis to be real at all times. Even Caleb Landry Jones, who doesn't get a ton of screen time, shows range and growth as his character's attitude towards Marcus shifts. And crucially, Patrick Fabian's disillusioned pastor is always likable and sympathetic. Although he's a sham artist, his purpose is not to capitalize on the situation but to expose his own hucksterism for the benefit of others. His reasoning is logical, and his devotion to his wife and son are heartbreakingly sincere. Although possessing a questionable moral compass on occasion, it's impossible not to root for the guy.

An ensemble performance like this cannot happen without a skilled director. Although German filmmaker Daniel Stamm's name was unknown to me before seeing this movie, I'll be following his future work very closely. Any director who can bring such passionate performances to a movie that seemed ripe for camp value is a director worth watching. Stamm also shows a gift for tension in many of the later scenes. Any viewer who doesn't find himself on edge as the characters search for Nell throughout the darkened house is made of sterner stuff than me.

Is the film scary? Often, yes. Stamm and his art directors have succeeded in transforming mundane locations like tool sheds and hallways into abodes of terror, and the resulting atmosphere generates a fair bit of creeping flesh. Although I disliked the final five minutes of the movie (and judging by the anguished cries of those around me when the credits began to roll, I wasn't the only one), The Last Exorcism is overall an impressive and enjoyable achievement. Made with style, skill, and obvious passion, this film will satisfy lovers of good performances and offbeat horror tales. Recommended.

The Last Exorcism is now playing in theaters everywhere. Locally, you can catch it at the Steamtown 8 in Scranton (12:00 pm, 2:25 pm, 4:50 pm, 7:10 pm, and 9:25 pm) or the Montage Mountain Cinemark in Moosic (12:15 pm, 1:25 pm, 2:30 pm, 3:45 pm, 4:55 pm, 6:05 pm, 7:15 pm, 8:25 pm, 9:35 pm, and 11:00 pm).

-----
Follow the Scranton Horror Movie Examiner on Twitter!