The Pope's Exorcist

In his original review of "The Exorcist" from 1973, Roger Ebert emphasized the perfect casting choice of Max von Sydow, an esteemed character actor, for the role of the older priest engaged in a battle against evil. Ebert drew a comparison, stating that von Sydow's extensive experience portraying characters in religious and metaphysical crises in Ingmar Bergman's films made him seem like a natural fit for a theological battleground, similar to how John Wayne belonged on a horse in Westerns.

"The Pope's Exorcist" merges these two images by casting Russell Crowe as Father Gabriele Amorth, who is not only a theologian but also a journalist, author, and the pope's appointed exorcist. Amorth is depicted as a cunning, resilient, and humorous priest who approaches each exorcism mission like a seasoned gunslinger. Instead of traditional weapons, he carries an exorcism kit containing crucifixes and holy water, cleverly packed in a case resembling a saddlebag. Adding a touch of comedic irony, his mode of transportation is a red-and-white scooter, undersized for Crowe's larger-than-life character but serving as a delightful sight gag. To soothe his scratchy throat, Amorth even keeps a small whiskey flask, which he insists on carrying. The character is crafted in the vein of the gritty, tough heroes of 1960s Westerns, played by iconic action stars like Burt Lancaster, Kirk Douglas, and, of course, John Wayne. These characters possessed a sharp wit, exposed societal hypocrisies, and defended civilization despite their jadedness and capacity for shock.

Directed by Julius Avery, known for "Overlord," "The Pope's Exorcist" takes loose inspiration from the story of a real priest, as documented by "Exorcist" director William Friedkin. The film follows Amorth as he journeys to a dilapidated abbey in rural Spain to exorcise a demon tormenting a young boy. While marketed as a horror film, it leans more towards a fast-paced action flick, exhibiting impatience rather than sustained creepiness. The narrative frequently intercuts between parallel storylines unfolding at the abbey and the Vatican, where Franco Nero portrays the pope, aware that there is more at stake than a typical possession case. Ultimately, the movie assumes the form of a theological action spectacle, with echoes of classic Westerns, presenting an aging gunslinger teaming up with a younger, untested partner, Father Esquibel, portrayed by Daniel Zovatto. Their mission is to save women and children from a formidable and monstrous adversary.

Alex Essoe co-stars as Julia, a widowed mother of two who inherited the aforementioned abbey following her husband's death in a car accident two years prior. Julia intends to renovate and sell the property to settle family debts. Her rebellious teenage daughter, Amy (Laurel Marsden), and 12-year-old son, Henry (Peter DeSouza-Feighoney), become entangled in supernatural evil, leading to manifestations reminiscent of William Peter Blatty's source novel, such as profanity, blasphemy, open sores, vomiting, biting, levitation, and contorted bodies.

The film's opening sequence stands out as the most original aspect. Amorth confronts a minor exorcism by engaging in a battle of words with evil, goading it into defeating itself through its own arrogance. This scene initially raises the audience's expectations, suggesting the introduction of a rare and original character with the potential for endless franchise possibilities. It evokes imagery of James Bond with a twist, complete with a distinctive collar, or a theological counterpart to the disheveled Detective Columbo, whose unassuming demeanor and peculiar