Name: The Pope's Exorcist
Genre: Horror, Thriller
Released: 2023-04-05T00:00:00+00:00
Cast: Russell Crowe, Daniel Zovatto, Alex Essoe, Peter DeSouza-Feighoney, Ralph Ineson

The opening scene of The Pope’s Exorcist sets its tone with a jolt: Russell Crowe as Father Gabriele Amorth, scooter-riding through an Italian village, taunting a demon into possessing a pig before blowing its brains out with a shotgun. It’s a moment that feels both absurd and darkly funny, a perfect encapsulation of Julius Avery’s approach to this supernatural horror-thriller. Based on the memoirs of real-life Vatican exorcist Father Gabriele Amorth, The Pope’s Exorcist blends religious horror with conspiracy intrigue, delivering a film that’s equal parts pulpy entertainment and thematically weighty drama.

Crowe dominates the frame as Amorth, an earthy, scooter-riding priest who combines practicality with deep faith. His performance is the film’s strongest asset, grounding even its most outlandish moments in a sense of authenticity. The actor brings a mix of humor and gravitas to the role, making Amorth feel like a real person rather than just an exorcist archetype. When he challenges the demon to possess the pig or when he later confronts a skeptical Vatican tribunal, Crowe’s charisma carries the scene.

The plot follows Amorth as he investigates a young boy’s terrifying possession, uncovering a centuries-old conspiracy buried beneath an abandoned Spanish abbey. The film leans heavily into its Catholic themes, with screenwriters Michael Petroni and Evan Spiliotopoulos weaving in historical weight—particularly the legacy of the Spanish Inquisition—and philosophical depth about faith and evil. This isn’t just another exorcism movie; it’s a story that grapples with the nature of good and evil, the power of prayer, and the secrets hidden within the Church itself.

One of the film’s standout sequences is Amorth’s confrontation with Cardinal Sullivan (Ryan O’Grady), who represents the Vatican’s institutional skepticism. Their exchange—where Amorth defends his belief in the Devil while acknowledging the importance of psychological understanding—is one of the most compelling moments in the film. It’s a scene that elevates The Pope’s Exorcist beyond its genre trappings, offering a nuanced exploration of faith and doubt.

Daniel Zovatto fares well as Father Esquibel, though his character often feels sidelined by Crowe’s magnetic presence. The supporting cast—including Alex Essoe as Julia Vasquez, Peter DeSouza-Feighoney as Henry, and Laurel Marsden as Amy—adds texture to the story. Essoe, in particular, delivers a strong performance as the skeptical mother struggling with her faith. Franco Nero’s brief but memorable appearance as the Pope adds gravitas, even if his role is relatively small.

Where The Pope’s Exorcist stumbles is in its pacing and structural choices. The film takes its time setting up Amorth’s backstory and the Vatican conspiracy, which feels overly familiar given how many exorcism films have trodden this ground before (The Rite, Deliver Us from Evil). The abbey setting is atmospheric, but the demonic possession plotline itself doesn’t offer much in the way of fresh scares or surprises. Ralph Ineson’s voice work as Asmodeus is suitably menacing, but his dialogue often veers into clichéd demonic ranting.

Avery (Overlord) directs with a steady hand, balancing moments of visceral horror with lighter, almost comedic beats (Crowe’s exorcism-by-shotgun gag being the most notable). The cinematography and production design are strong, particularly in the abbey sequences, where shadowy corridors and crumbling architecture amplify the sense of dread. However, the film’s third act—where Amorth uncovers the buried secrets beneath the abbey—feels rushed, as if the writers were eager to wrap up the conspiracy subplot without fully exploring its implications.

One of the most intriguing aspects of The Pope’s Exorcist is its exploration of faith and institutional power. The film doesn’t shy away from critiquing the Church’s bureaucracy, particularly in its portrayal of Cardinal Sullivan as a symbol of doubt and skepticism. This tension between personal belief and institutional authority adds depth to the story, making it more than just another exorcism thriller.

That said, The Pope’s Exorcist isn’t without its flaws. The film’s reliance on familiar tropes—possessed children, skeptical clergy, ancient conspiracies—means it often feels like a rehash of better-known horror films. The pacing is uneven, with the first half of the film moving slowly as it sets up the conspiracy plotline, only to rush through the climactic exorcism in the final act.

For fans of religious horror and possession thrillers, The Pope’s Exorcist offers a solid, if not groundbreaking, experience. Crowe’s performance alone makes it worth watching, even if the film itself doesn’t break new ground. The themes of faith and evil are explored with sincerity, and the atmospheric setting provides plenty of chills.

In the end, The Pope’s Exorcist is a watchable but far-from-special rehash of exorcism movie clichés. It’s a film that will appeal to fans of the genre, particularly those who enjoy Crowe’s charismatic performance and the film’s exploration of faith and institutional power.