{"id":142077,"date":"2023-04-05T18:30:13","date_gmt":"2023-04-05T13:00:13","guid":{"rendered":"https:\/\/www.imageantra.com\/the-popes-exorcist-2023-review-russell-crowes-charisma-explodes-the-screen-in-an-adventure-of-terror-and-possessions-seen-as-a-cinema-easter-spectacle\/"},"modified":"2023-04-05T18:30:13","modified_gmt":"2023-04-05T13:00:13","slug":"the-popes-exorcist-2023-review-russell-crowes-charisma-explodes-the-screen-in-an-adventure-of-terror-and-possessions-seen-as-a-cinema-easter-spectacle","status":"publish","type":"post","link":"https:\/\/www.imageantra.com\/the-popes-exorcist-2023-review-russell-crowes-charisma-explodes-the-screen-in-an-adventure-of-terror-and-possessions-seen-as-a-cinema-easter-spectacle\/","title":{"rendered":"The Pope’s Exorcist (2023) review: Russell Crowe’s charisma explodes the screen in an adventure of terror and possessions seen as a cinema Easter spectacle"},"content":{"rendered":"
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Horror cinema has a special section for two genres that never stop having movies, whatever the decade or political climate, one is that of killer sharks, and the other is that of Catholic possessions and Roman exorcisms, for this reason It is not surprising that a film like<\/strong> ‘The Pope’s Exorcist’, a luxurious and unrestrained fantastic version of a concept very given to the exploitation of the same classic: ‘The Exorcist’ (1973).<\/p>\n

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Like George A. Romero’s zombie movies, few works can claim the responsibility of creating an entire genre that seems to go on forever. Probably, except for the only official sequel, none has lived up to William Friedkin’s. But the public and film producers don’t care. The genre of possessions is treated with honors and Few studio horror movies get a decent budget and the big-time commercial treatment.<\/strong>and how are you Not by chance this is starring Russell Crowe.<\/p>\n

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Far from being a by-product in which you find an actor on the down-low, the film gives him the opportunity to do one of his best roles in recent years<\/strong>, probably since he showed his comic vis in ‘Two good guys’. Here he plays the head of the exorcists of the Vatican, Gabriele Amorth, \u2014about whom Friedkin made a documentary\u2014, which makes the film have a certain responsibility on its shoulders, since he is a respected and well-known figure within the church. This makes for a large budget, a production full of locations and a large-scale concept of the film.<\/p>\n

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More ‘Infernal Possession’ and ‘Indiana Jones’ than real facts<\/h2>\n

Something smells like Hollywood with the reboot-sequel to Blumhouse’s ‘The Exorcist’ that Big budget exorcism movies keep coming out<\/strong>. If last year we had the female version of the idea with ‘Pray for the Devil’ \u2014and its Mexican cousin, ‘The Exorcist’\u2014, which remained somewhat shy in offering a vision for adults, in Spain we have seen the most critical with the process in the highly undervalued ’13 Exorcisms’, the real face of the controversy of the ritual and the problem of its possible victims, with a Spanish case that, in reality, is a tragedy.<\/p>\n

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‘The Pope’s exorcist’ also has a case in Castilla, supposedly taken from the priest’s memories, but his approach could not be more different. If Hollywood tends to get solemn when dealing with real cases of exorcists who tell their stories, like when Anthony Hopkins was a master exorcist in the more subtle ‘The Rite’ (2011), here the filmmaker Julius Avery takes the route of circus extravaganza, turning Crowe into a quirky Indiana Jones<\/strong> with Sotana in an adventurous approach that Demi\u00e1n Bichir already put into practice in ‘La monja’.<\/p>\n

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