Theatrical Review: The Rite (Mikael Håfström, 2011)

After a little over half a year, I have returned. I will dispense with the explanations and excuses, for your benefit as well as mine. On to the review:

Ever since I watched The Last Exorcism, after it hit DVD/Blu-Ray earlier this month, I have become somewhat obsessed with demonic possession and exorcism. I wound up reading The Exorcist by William Peter Blatty, and then picking up the recent Warner Bros. Blu-ray book of the William Friedkin film adaptation, as well as another film - The Exorcism of Emily Rose. I am now awaiting the February 1st re-release of Legion, Blatty's sequel to The Exorcist, and plan to watch the film adaptation Blatty directed himself, The Exorcist III. Needless to say, amid my sudden fascination with the subject, I was eager to see The Rite in theaters.

From left to right: The Exorcist, The Exorcism of Emily Rose, The Last Exorcism

The film is loosely based on a book by Matt Baglio of the same name. The book details the true story in which Baglio - a journalist - follows an American Roman Catholic priest who takes a course on exorcism at a sabbatical in Rome and then becomes the apprentice of a renowned Italian exorcist. The film is, generally speaking, much the same format, though the viewer witnesses the narrative unfold from the perspective of the American priest as opposed to the journalist.

Colin O'Donohue fills the role of Michael Kovak, a young adult who works with his father (Rutger Haeur) at a family-owned funeral home, helping to prepare bodies of the deceased for burial. Unsatisfied with his life, Michael decides to enroll in seminary school to get away for a few years. Cut to four years later, where Michael resigns following his ordination via a letter to his Father Superior, claiming a lack of faith. Soon after, a tragic accident finds Michael absolving a dying girl, who mistakes him for a priest due to his attire. Father Superior witnesses this incident and asks Michael to attend a course on exorcism in Rome, confiding that he was charged with seeking out candidates and believes Michael to be worthy. Not only that, but he suggests that should Michael simply leave, his scholarship could be converted to financial aid, resulting in nearly $100,000 of debt. So, Michael accepts the invitation with the assurance that should he still wish to resign after, he would be free to do so.

Upon arriving in Rome, Michael attends a few sessions of the exorcism course, taught by Father Xavier (Ciarán Hinds, an extraordinary actor whom you might recognize as having played Julius Caesar in the HBO series Rome), and befriends another student by the name of Angeline (Alice Braga), who later reveals herself to be a reporter covering the course for an article. After a few sessions, during which Michael debates Father Xavier over distinguishing between cases of genuine demonic possession and cases that have psychological explanations, Xavier sends him to meet with Father Lucas (Anthony Hopkins), an experienced exorcist. Michael is then allowed to assist (and thus experience firsthand) Father Lucas with the exorcism of a pregnant sixteen-year-old girl. Still, despite extraordinary occurrences, Michael remains a skeptic.

What follows is sequence of events in which Michael accompanies Father Lucas as he continuously visits the pregnant girl and another patient, which are occasionally humorous but often chilling, eventually culminating in something of a twist that is still as interesting as it is predictable. Suffice it to say, without spoiling too much, that Michael has his faith tested far more rigorously than he anticipated. Truth be told, though, The Rite does not offer much in the way of originality in regards to films dealing with demonic possession and exorcism. Much of the scares are either ones the viewer has witnessed in The Exorcist or others like it, and the film walks the tired line of the protagonist coming to grips with his/her beliefs. This is something of a letdown considering that, when you stop to count, there really are not all that many films like this out there; one would think that a little more effort could have been put forth to craft a more unique experience. 

That is not to say that The Rite is not an enjoyable movie. Anthony Hopkins performance is refreshing, and his presence keeps the viewer entertained and engaged, especially throughout the third act. O'Donohue is passable as Michael, though his inexperience shows, and Ciarán Hinds shines in what little screen time he has. I feel sorry for Rutger Hauer, though, whose minuscule roles in films these days tend to go by largely unnoticed (I was stunned when it took several repeat viewings of Batman Begins for me to even realize he was in the film). He is a wonderful performer, and I would love to see him in a more prominent role once again. Furthermore, The Rite is ripe with both gorgeous and unsettling cinematography that allows for an appropriate and effective atmosphere. Overall, it is a thriller I would recommend viewing, so long as you go in without expecting much of anything you have not seen before.

B-

Theatrical Review: Predators (Nimród Antal, 2010)

For the avid fan like myself, who has spent countless hours exploring the Aliens vs. Predator universe, be it through novels, comic books, or video games, a proper Predator sequel has been a long time coming. When the film first entered the spotlight, many - myself included - were skeptical due to the odd choice of casting Adrien Brody as the lead, as well as giving the project to a first-time director (despite the fantastic news that Robert Rodriguez would produce). However, I am happy to report that - a few nagging details aside - the fans should be satisfied (though still hungry for more). Predators is not a perfect film by any stretch of the imagination as far as blockbuster action flicks are concerned, but it is fun, deliciously violent, and definitely one of the better releases in the genre thus far in 2010.

The film opens with Brody's character, Royce, falling from the sky. Shortly before he hits the ground, a parachute opens in the nick of time to provide a slightly less painful landing. Moments later, others follow suit, falling in the same manner. Eventually, after a few testosterone-filled stand-offs and misunderstandings, all of the fallen individuals come together. Most of them are members of various special forces units throughout the world, except for one convict and a doctor (Edwin, played by Topher Grace). Moreover, all of them have been dropped in the middle of a jungle on what they quickly realize is not Earth, and are armed to the teeth, the idea being that they were abducted while engaged in combat somewhere (except for the convict, who only has a makeshift knife, and Edwin, who is unarmed).


There is a bit of exposition along the way, and after being toyed with a little too much by a pack of ferocious dog-like creatures covered in spikes, the band of hardened killers decides to take the initiative and track down whatever is apparently hunting them. So, they eventually find a campsite where a Predator is tied up (apparently there are two different kinds of Predators, and this one was being held prisoner for some reason. Worth noting, too, is that the costume of the captive Predator, as a little throwback to the fans, is actually that of the Predator from the original 1987 flick starring Arnold Schwarzenegger). One of the group, Isabelle (Alice Braga), recognizes the alien, recollecting an encounter with one some years ago. The mindful fan listening to her story will realize that she is recounting the events of the '87 film, and appears, as far as I could tell, to be the very same woman that Arnold saved (though her name was Anna). Shortly after Isabelle puts things in perspective for the rest of the group, three Predators return to the camp and all hell breaks loose as the humans make their escape, regroup, and scheme to defeat their newly identified hunters and get off the foreign planet.

A few surprises are in store throughout the remainder of the film, some of which do not make much sense when one stops to think about them, but fortunately it does little to detract from the film. There are (sometimes drastic) leaps in logic, some of the characters' actions make little sense in relation to how their personalities are established, and there a few comedic moments here and there that are awkward or dull more often than actually humorous, but the overall package is a worthwhile effort from a competent director and a talented cast. The only real gripe I had leaving the theater was with the ambiguous ending of the film. The final moments, though obviously pointing towards a potential sequel, felt oddly out of place in a film that almost left the viewer demanding for closure. However, given that it took twenty years for a new Predator film to arrive, I am patient enough to wait a few more for a sequel that (hopefully) continues the story of the surviving characters.

B+