Though films exploring demonic possession are nothing new, the fact that Julius Avery’s The Pope’s Exorcist is based on the real-life Chief Exorcist of the Vatican, Father Gabriele Amorth, instantly makes for a more unique and enticing premise.

Couple that with a 1-hour 43-minute run-time jam-packed with comedy, drama, and gore led by star performer Russell Crowe, and you have a recipe for success.

 

Based loosely on events from the Italian Roman Catholic priest’s life, the film takes Amorth from Italy to Spain as he attempts to help an American child who has become possessed after moving into a newly inherited abbey with his mother and sister.

During the investigation, Amorth learns of a surprising conspiracy involving the Vatican that leads him down a rabbit hole as he attempts to unravel the truth.
 

Unlike most priests in exorcism films, Amorth is a multifaceted character with a sense of humor, depth, and edginess. This sets him apart from the generic priest tropes adopted in movies of the same sub-genre.

It’s no surprise that Crowe nails the assignment, showcasing a spunky and playful side to Amorth that, though authentic, appears to be a defense mechanism to mask grief and vulnerability that lives under the surface.
 

The exploration of grief is quite a strong theme in the film, as it festers with each of the main characters in opposing ways, reflecting the complexity of the human psyche.
 

Father Esquibel, played by Daniel Zovatto, is a Spanish priest working alongside Amorth on the child possession case and is, just like the Italian exorcist, internalizing his own personal demons. Crowe and Zovatto’s on-screen chemistry is one of the film’s highlights, as the two priests share a mutual understanding and trust that keeps viewers invested in the outcome of their working relationship.
 

Praise must also be given to Alex Essoe, who is no stranger to horror and an outstanding addition to the cast. The Doctor Sleep alumni excels as Julia, who, as a struggling mother, tries to provide the best life for her two kids, Henry (Peter DeSouza-Feighoney) and Amy (Laurel Marsden).

Essoe, DeSouza-Feighoney, and Marsden not only seamlessly portray a family adjusting to a new location but also reflect three individuals attempting to regain a sense of normalcy after a tragic loss.
 

The Pope’s Exorcist wouldn’t be an exorcism feature without jump scares and the usual cliches interjected into films of the sub-genre, all of which are present. However, Avery relies less on the fright factor and more on suspense-building and atmospheric setting to allure the audience. 

 

The director is successful in his pursuit, though he doesn’t take himself too seriously, sprinkling in comedic elements along the way. 
 

The film’s biggest letdown is the third act, which becomes mildly cartoonish, predictable, and accompanied by an anticlimactic ending that disappoints after such a promising buildup.

 

But regardless of the drawbacks and failure to bring any groundbreaking fresh ideas to the table, The Pope’s Exorcist is a worthy contender in the demonic possession film world, providing a solid storyline, intriguing characters, and a crowd-pleasing performance by Crowe, sure to satisfy if you’re a fan of the exorcism-themed sub-genre.