The Exorcism: A Bold but Flawed Horror Experiment

The moment Russell Crowe’s Anthony Miller slams his head into a table on the set of The Exorcism, you know you’re in for something unnerving. Joshua John Miller’s 2024 horror-thriller doesn’t just dip its toes into psychological terror—it dives in headfirst, using the troubled actor’s descent into madness as both narrative and thematic fuel. The film is a bold swing at redefining supernatural horror through the lens of personal trauma, but like many ambitious projects, it stumbles under the weight of its own aspirations.

Miller, directing from a script co-written with M.A. Fortin, crafts a story that blurs the line between mental illness and demonic possession. Anthony Miller (Crowe), an aging actor with a history of addiction and sexual abuse, is cast in a horror film reminiscent of The Exorcist. As production begins, his behavior grows increasingly erratic—cutting himself, sleepwalking, and acting as if possessed on set. His estranged daughter Lee (Ryan Simpkins) watches helplessly, unsure whether her father’s relapse into old addictions or something far more sinister is at play. The film’s central question—is Anthony mentally ill or truly haunted?—drives its tension, though not always effectively.

Crowe, an actor known for his transformative roles, fully commits to the role of Anthony Miller. His performance is a study in unraveling masculinity, oscillating between vulnerability and volatility. In quieter moments, like when he confesses his past trauma to Lee or when he kneels in a confessional at the film’s end, Crowe imbues Anthony with a raw humanity that makes his arc compelling. However, there are times when his performance veers into melodrama, particularly during scenes of on-set possession where his contortions and screams feel more cartoonish than chilling.

Simpkins, as Lee, provides a grounding counterpoint to Crowe’s intensity. Her character is the emotional anchor of the film, and Simpkins navigates the complexities of grief, fear, and daughterly concern with nuance. Their father-daughter dynamic is the heart of The Exorcism, and it’s in their shared scenes that the film finds its most authentic moments. Chlöe Bailey, as Blake Holloway—a popular TV actress playing a possessed girl in Anthony’s film—adds a layer of intrigue, though her character arc feels underdeveloped compared to Crowe and Simpkins’ dynamic.

Miller’s direction is visually striking, particularly in sequences like Joe’s death by shattering glass or the eerie, distorted cinematography on set. The film’s creative visuals attempt to create a new type of horror, blending psychological drama with supernatural terror. However, the pacing falters midway through, bogged down by expository dialogue about Anthony’s past trauma and repetitive scenes of him spiraling on set.

The script struggles to balance its heavy-handed themes—addiction, sexual abuse, grief—and the supernatural elements, often sacrificing suspense for melodrama. The film’s climax—a frantic exorcism scene where Lee burns Miller with a crucifix—is visually engaging but undermined by predictable plot twists and a resolution that wraps up Anthony’s redemption too neatly.

The Exorcism is an admirable attempt at reinventing the horror genre, but it stumbles in execution. The film’s strengths lie in its performances and visual creativity, but its narrative ambitions ultimately outstrip its ability to deliver a cohesive, terrifying experience.

Crowe’s performance is the film’s standout feature, but even his talents can’t fully salvage the script’s weaknesses. His portrayal of Anthony Miller is a masterclass in physical acting, particularly in scenes where he contorts his body and slams his head into tables, embodying both the physicality and psychological torment of possession. However, Crowe’s performance sometimes overshadows the film’s other actors, leaving them to play supporting roles in what should be an ensemble effort.

Simpkins holds her own against Crowe, delivering a performance that is both emotionally resonant and visually compelling. Her scenes with Crowe are the film’s emotional core, grounding the supernatural elements in a relatable father-daughter dynamic. However, Simpkins’ character arc is somewhat predictable, following the tried-and-true path of the concerned daughter who ultimately saves the day.

Bailey’s role as Blake Holloway is intriguing but underutilized. Her character serves as a foil to Lee, representing the glamorous world of Hollywood that Anthony and Lee have left behind. However, Bailey’s performance lacks the depth and nuance of Crowe and Simpkins’, leaving her character feeling one-dimensional.

The film’s supporting cast, including Sam Worthington as Joe, Adam Goldberg as Peter, Adrian Pasdar as Tom, David Hyde Pierce as Father Conor, and Tracey Bonner as Regina, deliver solid performances but are often overshadowed by Crowe’s intensity. Their characters serve important narrative functions, but they lack the depth and development to fully engage the audience.

Miller’s direction is both the film’s greatest strength and its Achilles’ heel. His creative visuals and atmospheric cinematography create a sense of unease that permeates the entire film. However, his pacing is uneven, with the film’s second act dragging as it delves into Anthony’s past trauma. The repetitive scenes of him spiraling on set begin to feel tedious, undermining the tension that Miller so carefully builds in the first act.

The film’s climax is a visual spectacle, with Miller employing creative camera angles and lighting to create a sense of chaos and desperation. However, the resolution feels rushed and unsatisfying, wrapping up Anthony’s redemption arc too neatly. The final scene, in which Anthony kneels in a confessional and declares his renewed faith, feels contrived and out of place with the rest of the film.

The Exorcism is an ambitious attempt to redefine supernatural horror, but it ultimately falls short of its lofty goals. The film’s strengths lie in its performances and visual creativity, but its narrative ambitions outstrip its ability to deliver a cohesive, terrifying experience. While Crowe and Simpkins deliver standout performances, the supporting cast is often overshadowed by their intensity.

Miller’s direction is both visually striking and atmospheric, but his pacing is uneven, and the film’s resolution feels rushed and unsatisfying. The Exorcism is a bold swing at reinventing the horror genre, but it stumbles in execution.

Tags: horror, Russell Crowe, Sam Worthington, Joshua John Miller, Ryan Simpkins, The Exorcism