Tag: the last exorcism

The Last Exorcism Part II

The Last Exorcism Part II (2013)
★ / ★★★★

Nell (Ashley Bell) is sent to live in a home for girls after she is found with only fragments of memories involving what had happened to her while living in the woods. There is one thing she knows for certain: her entire family had perished in a fire. At first, her integration goes well. She gets along with her roommate, Gwen (Julia Garner), and has made friends with all of the girls in the house. Also, there is a nice boy around her age, Chris (Spencer Treat Clark), who seems to show genuine interest. But the demon that possessed Nell in the woods is not finished with her. Its plans have evolved and it is desperate to get her back.

“The Last Exorcism Part II,” based on the screenplay by Damien Chazelle and Ed Gass-Donnelly, feels like a rehash of a rehash. While it does offer a few hair-raising scenes, there is a lack of control in many of its attempts to scare and so the majority of them end up silly or laughable. For instance, must Nell make sexual sounds while being possessed as she sleeps? Is she supposed to be liking it? I don’t know, but it made me feel awkward. A lot of people tend to make jokes about the title. The truth is, the joke is on those, like myself, who has taken the time to sit through the picture and hoped that it would get better. It did not.

The first third is tolerable. I enjoyed the way it is communicated that Nell has lived such a sheltered life. Bell does a good job in underlining the fragility of Nell. Like a child plucked out of the darkness, a lot of things, like rock music, are new to her. Though she cannot remember the graphic details of her past, I rooted for the character because I did not want to see her get hurt. She deserves a new beginning.

There are warm moments between the girls, particularly during Mardi Gras and while at work, but getting to know some of them might have elevated the picture. As a movie that relies on formulas, we know that it is only a matter of time until they figure out Nell’s bizarre history. The betrayal that she feels would have packed more wallop if we had known the girls as much as we know Nell. Instead, during that important scene, the girls end up looking like bullies when, in reality, it is likely that they have troubled pasts, too.

Its ailment is having no ambition: it lacks solid scares because of its reliance on tired techniques. For example, when the camera moves down a hallway, it slithers so slowly that it is obvious that it wants us to wonder what is right around the corner. When the supposed jolts do arrive, the loud music does all the work.

When all is silent, cue the CGI and–can you believe it–more loud music. This is especially problematic in the second half. Horror is at its most effective when simple. Instead, we watch black vein-like figures on the wall (why is that scary?) and various moving shapes underneath a woman’s stomach (it comes across as an act of desperation than being genuinely creepy). The lack of context in these would-be scare attempts is astonishing.

I went into “The Last Exorcism Part II,” directed by Ed Gass-Donnelly, willing and ready to be scared. One is more susceptible to be played like a marionette or a piano when one is willing and ready. But the picture barely lifts a finger. Instead, the sheer laziness of the writers and director ends up being on screen for the world to see. If I were them, I would be really embarrassed.

The Last Exorcism

The Last Exorcism (2010)
★★★ / ★★★★

Reverend Cotton Marcus (Patrick Fabian) agreed to have his last exorcism to be documented on camera. In the first few minutes, he admitted to us that exorcism was only real in the minds of religious Christians plagued by something they cannot explain. In other words, the placebo effect guided the effectiveness of an exorcism. Despite Reverend Marcus being a sham, strangely enough, I understood why he made a career out of it because he had an obligation to provide for his family, especially his son who had difficulty hearing. Understandably, people feel the need to compare the movie to Daniel Myrick and Eduardo Sánchez’ “The Blair Witch Project” and Oren Peli’s “Paranormal Activity” because of its faux-documentary style. But I say it was more like John Erick Dowdle’s chilling remake “Quarantine.” However, I think “The Last Exorcism” had its own identity and therefore its own strengths and weaknesses. The film was its best when it described the history of the practice, the circumstances in which one should get an exorcism, and the religious heretics so willing to go to the extreme to the point where they became blind to more conventional explanations such as the so-called possessed person having an undiagnosed disease or mental disability. I was also happy with the fact that it acknowledged the cruel act still happening today in various forms depending on the culture. The picture thrived on the build-up of strange information especially when we finally met a farmer (Louis Herthum) with a creepy son (Caleb Landry Jones) and “possessed” daughter (Ashley Bell). The rising action of the girl sleepwalking, killing animals, being violent and making strange noises was unsettling and sometimes downright horrifying. However, the movie’s weakness was its own conceit. The faux-documentary style did not always work because there were times when the daughter, in an altered state, would pick up the camera and we saw what she saw and did. I loved that the film was purposely comedic, especially in the first half when the techniques of the scam were revealed, but the comedy and horror did not always complement each other in one scene. Instead of feeling scared, I felt detached and I almost felt the need to laugh because there was an underlying message that the devil despised the constructed false (if not almost illusory) reality like in movies mentioned earlier and reality shows on television. I also found some inconsistencies such as the addition of music during the scarier scenes (it was supposed to be a found footage!) and camera angles that only one cameraman can normally accomplish. Although I give kudos to Daniel Stamm, the director, for infusing a sense of (sort of campy) fun and intelligence in his project, I wanted more scenes where I find myself cowering in my shoes. I suppose that’s the reason why a lot of people did not like the movie: they wanted to feel more scared. Nevertheless, I really enjoyed “The Last Exorcism” because it was concise, confident with where it wanted to go and what it wanted to achieve, and its constant build-up was elegant. It made me think of respectable horror pictures from the late 60’s and ’70s.