Metacritic-Rezensionen

The Devil and Father Amorth is a flimsy stunt, but in his blunt, slapdash way, William Friedkin locates the intersection existing between religion and pop culture—a fusion that insidiously steers political currents.

The film is unquestionably a curio for converts rather than the meatier exploration it will leave many sceptics (including this one) hankering after, but it leaves you with plenty to chew on – along with that Satanic cadence echoing in your bones.

It is often an oddly compelling tabloid foray, since it winds up shedding a crucial ray of light on the mad moment we’re in now. Whether or not you believe in the Devil, the film helps to color in how our culture got possessed.

While the slim sampler platter would be more at home on an "Exorcist" commemorative DVD release, the documentary, accentuated with unnerving bursts of music sampled from the works of neoromantic composer Christopher Rouse, should placate the rabid fan base.

If this documentary celebrates a crackpot, Mr. Friedkin is his match. The director’s blabbermouth tendencies and wry manner make him an enjoyable M.C.

The exorcism itself is the least entertaining thing about the movie, even though it eats up a sizable and unbroken chunk of the 68-minute running time.

This would be an interesting subject to explore at length, with a host who didn't seem to be padding an opportunity for self-promotion with the trappings of science. Unfortunately, Friedkin goes overboard in the short film's final scenes, describing a second encounter with the possessed woman that was far more dramatic than this one.

The stuff is about as convincing as a chain letter and requires considerable padding, despite a slim running time.

It’s stuck between earnest examination of a case and exploitative hustle — and is unlikely to please the audiences interested in either.

If you don’t believe in this stuff, then the film is exploiting a young woman with mental issues. And if you do believe, it’s hard not to question the devil’s strategy.