Exorcist The main character is an exorcist who has long lost faith and uses all sorts of tricks in his practice, eventually encountering an extremely interesting case in his practice. By adding the Blair Witch form to the Brothers Grimm series, the authors are struggling to make a half-remake of the iconic The Exorcist in a new manner. And, perhaps, only fans of mocumentaries will appreciate this highly, to whom both style and form are pleasant and close, the rest may simply get bored, since a horror film as a result does not represent anything terrible.
Claiming juicy trailers with the convulsions of a young girl, the film itself did not leave anything that could somehow stir it up. The emotionality of the characters looks too far-fetched, and the game of facial expressions is too simple and banal, because you can not get away with one bulging eyes here, and sharp jumps on the operator are painfully standard boo-effect to cause a strong spectator emotion. Sometimes attempts to scare and completely overgrown with something ridiculous and funny, but at least because of this, you begin to watch a dull show with interest.
What really succeeded here is the scenario moves, famously weaving various theories one after another, as a result striking as many as three consecutive twists, each of which is very good. However, to press the effective ideas to the end, the authors simply do not have enough strength. While the visual part is foolishly ruined by inept directing, leaving the most delicious behind the scenes, and showing a set of primitive in all its glory, a great plot is lost at the very end, playing in the Blair Witch and leaving a ridiculous open finale without any explanation.
The film is also praised for its musical accompaniment. Unlike other pseudo-documentary, drowning in realism, there are at least some hints of art. It happens so suddenly and unevenly that in the end the movie looks like it was shot by several different people. The music of the climactic moments holds the whole atmosphere, acting as the core of each such scene, while the crooked visual tries to pull at least something out in public. And despite the fact that any movement around the rooms and eerie-looking breakage are not hidden from the audience’s eyes, the most spectacular scenes always occur somewhere out there, behind the veil of the audience’s attention, whether it’s fiery demons, broken fingers, cuts and murders, or a naked girl wandering around the house. Nevertheless, the visual part is many times superior to the helpless “Paranormal phenomenon”, although in fact uses the same techniques and in the genre does not demonstrate anything new.
Recalling the chic visual of the second “Hostel”, I really want Eli Roth not to be limited to production functions, but to shoot this movie himself, but unfortunately the reality is that we have to put up with the work of a weak novice director. And when a good script is so ridiculously abused, and as a result they can not even think of a film at least some ending, it becomes uncomfortable. And I would like that would not in itself become directly from the horrors, to the genre of which they try to attribute this creation.
As a result, you can watch this film safely alone at home at night in a remote village, and never be afraid, and even do not suffer nightmares, forgetting such an empty place the next day. But remotely recalling the plot details, the authors still want to praise for the third act of the narrative, where the real detective begins and the viewer’s mind begins to guess what is really happening, and the script gives a triple sketch of interesting events, filing everything gradually and measuredly, confusing and intriguing. As a result, we have a very brave idea and a lot of great ideas, and not pressed to the end, drowned in complete impotence to the final.
5 IZ 10
Original