Der letzte Exorzismus

Every. Single. Thing. in this movie is done right. Crips direction, incredible acting, phenomenal sound design and score, just overall yes yes yes to this. Ashley Bell is OUTSTANDING as the chipper and innocent daughter. Her enthusiasm when she gets to put the red boots on is just the most adorable thing. When it comes time for her possession, you can't possibly imagine this young woman being scary and nasty......but OMG does she pull it off without a hitch. Incredible transformation. A+++++

The whole setup here is that we have a professional actor - paid to put on shows about fire and brimstone - who will need to discern over the course of the film who is putting on the show he finds himself in. A film crew is turning this into a movie, presumed to reveal hidden mechanisms that move spectators. Turns out something else is controlling the thing and moving parts we thought we knew all about and possibly us. This will test his mettle as a showman himself, let's say his faith in the healing power of his act (art?). Is the girl acting out some repressed sexual trauma? Is the father, at the same time covering his tracks with Jesus babble? Or is the demon, the great trickster? (a mild problem here is that, the film being what it is, we never really wonder, do we?)

This is excellent stuff and could have worked as more than horror. Indeed, until the last part horror is intermittent here. Our focus is on juggling one show as part of another while getting to decide which one horrifies more. The choice for 'found footage' is one of the better applications I've seen in terms of structure; it means we have one more show running behind the other two, and one that we use to look for the real root of horror. There are many dramatic shots in the flow, but we can chalk these to the presence of a professional cameraman.

The ending has been reported as problematic. Oh, it is graphic but in ways that have become a staple in films dealing with some extraordinary demonic darkness; Polanski, Rosemary as well as Ninth Gate, the Hammer shocker The Devil Rides Out, Night of the Demon, recently Drag me to Hell. Many viewers bemoan the revelation and tend to prefer the whole thing coated in whispers and rumors. Fair point.

It works for me because it allows us to recast evil as another staged trick. Another group of people are brought in at the last moment to enact a show, the real deal this time. Real fire and brimstone. Death comes as storyboarded earlier.

If you're interested in the scam priest angle, it's only a light-hearted jab at faith here. Watch Marjoe for a more chilling portrait, the '72 documentary on the "World's Youngest Ordained Minister".

If you've seen this film, you have an opinion on it. And this is natural given the open ended finale of the movie. For those who haven't seen the movie--don't worry--I don't plan on ruining it by saying anything in this review that you wouldn't know by seeing the preview or anything that would detract from your viewing experience? at least I'll try not to.

The highlight of the movie for me was Pastor Cotton Marcus (Patrick Fabian). He succeeded in weaving together a layered, complex character which is rare for the horror genre. He plays a southern Baptist minister who grew up in the church. As a PK, he was bred to be on the pulpit. One would think that with a lifetime spent in the church, his faith would be devout--quite the opposite. As years have passed, his faith has weakened to a point where now even he doubts.

Another huge plus for me in this film are the ups and downs--one minute your knees are at your chest and you're on the verge of covering your eyes, and the next you're lost in the development of the plot.

No matter what your thoughts on the end of the movie, I challenge someone to dispute the merits of a scary movie to put more emphasis on character development to further the suspense than the typically cheap thrills.

Ambiguity is a powerful tool for a writer, filmmaker, or any creative person. But there's a fine line between ambiguity and lazy storytelling. The Last Exorcism, unfortunately, makes use of the latter. The film poses many questions but doesn't feel the need to answer most of them, meaning at the end of the film, the audience isn't so much pondering the themes of religious doubt and the adverse effects of shame so much as wondering what the hell just happened.

The lack of clarity is only made more frustrating by the overly shaky handy-cam cinematography. I normally enjoy this mode of filmmaking, and it was proved to be effective for horror films in last year's phenomenal breakout Paranormal Activity, but Daniel (the cameraman) has a bit too shaky of a hand for the style to work well here. I actually got a headache from some of the later, jumpier scenes.

It's a shame the film meanders to such a laughable conclusion, because it starts with such promise. The first half hour or so is surprisingly funny, effectively parodying the genre (specifically exorcism-based horror films) and presenting a religious slant to the proceedings that makes things interesting initially but ultimately seems cheap and even stupid. Two fine performances from Patrick Fabian and Ashley Bell are wasted as the material goes from subtly self-reflexive to blatantly generic. The horror that unfolds along the way rarely generates any real scares, settling instead for bursts of weirdness, cheap jumps, and ultimately, an unattractive mixture of stupidity and discomfort.

Taking the pulse of a horror-loving film community in 2010, "The Last Exorcism" is like a document of pop culture history in its mix of marketing and aesthetics. Trying to out-Paranormal-Activity "Paranormal Activity 2" this Halloween will be a genuine challenge for the Eli Roth produced film, but the fauxumentary's premise does have a few genuine thrills and chills going for it, making it a decent double-bill screening for game fans of the genre. Appropriating the best narrative and visual tropes from its direct influences, namely "Marjoe", "The Exorcist" and even the recent "The Exorcism of Emily Rose" in how it wrenches out a mystery element, director Daniel Stamm uses the newly fresh-again format of documented horror to elevate the drama inherent in an exorcism's taut chamber piece setting. There is a good chance here of being firmly disturbed, if you let the film take you where it wants to take you.

Armed with a genial personality and powerful charisma, Louisiana's Reverend Cotton Marcus (Patrick Fabian) goes around the country performing fake exorcisms on the believing. Tired of his lifestyle, he enlists a filmmaker, Iris Reisen (Iris Bahr) and her unseen cameraman (Adam Grimes) to document his final foray into the fraud as he prepares a venture into real estate after a personal tragedy. Following the reverend's exposé on the sham rituals of exorcisms, the film crew finds the beginnings of a real case of demonic possession in Nell Sweetzer (Ashley Bell), a shy and gentle girl with a shotgun-toting, fundamentalist father (Louis Herthum) worried about the dark and heinous things occurring on the farmhouse.

Fabian's depiction of the Reverend is terrific fun. He brings out so much of the character that it only enlivens the film and makes it feel all too real while newcomer Bell also shows some strong chops (and flexible limps) for this genre. The film takes its settings seriously and Stamm builds the foundation cleverly and patiently for powerfully unsettling moments. There's a good sense about the screenplay -- not exceedingly smart for its good but not too detached from its conceit that the illusion is never broken. The single perspective thorough the documentarian's lenses helps focus the story into the visceral and direct scenes of terror, almost taking on a life of its own. While the story does tend to falter till the end, the strength of its conviction to juggle the various layers apparent makes its intrigue palpable.

While never being a thrill-a-minute fright-fest on the level of "Rec 2", "The Last Exorcism" is a sophisticated and confident manipulation of the format is a treat. Its mockumentary aesthetics are refined and brought into fruition well enough to tell a tale of faith and disbelief, the unknown and unknowable darkness that exists beyond our rationalities.