The Pope’s Exorcist

Father Gabriele Amorth, Chief Exorcist of the Vatican, investigates a young boy’s terrifying possession and ends up uncovering a centuries-old conspiracy the Vatican has desperately tried to keep hidden.

Credits: TheMovieDb.
The Pope’s Exorcist
Overview:
Father Gabriele Amorth, Chief Exorcist of the Vatican, investigates a young boy’s terrifying possession and ends up uncovering a centuries-old conspiracy the Vatican has desperately tried to keep hidden.
Cast:

• Father Gabriele Amorth: Russell Crowe
• Father Esquibel: Daniel Zovatto
• Julia: Alex Essoe
• Henry: Peter DeSouza-Feighoney
• Asmodeus (voice): Ralph Ineson
• Amy: Laurel Marsden
• The Pope: Franco Nero
• Cardinal Sullivan: Ryan O’Grady
• Rosaria: Bianca Bardoe
• Adella: Carrie Munro
• Bishop Lumumba: Cornell John
• Roberto Vasquez IV (Henry’s Dad): Santi Bayón
• Interpreter: Paloma Bloyd
• Father Gianni: Alessandro Gruttadauria
• Enzo / Halphas: River Hawkins
• Carlos: Jordi Collet
• Worker 1: Marc Velasco
• Young Amorth: Edward Harper-Jones
• Cardinal Abato: Matthew Sim
• Spanish Doctor: Victor Solé
• Vatican Doctor: Tom Bonington
• Drunken Farmer: Andrea Dugoni
• Nazi Soldier: Ed White
• Daughter (Farmhouse): Laila Barwick
• Italian Priest: Gennaro Diana
• Bishop Barbuto: Pablo Raybould
• Doctor (uncredited): Derek Carroll
• Partisan #2 (uncredited): Ella Cannon
• Villager (uncredited): Amey De Souza

Crew:

• Screenplay: Evan Spiliotopoulos
• Producer: Jeff Katz
• Director: Julius Avery
• Producer: Michael Patrick Kaczmarek
• Executive Producer: Eddie Siebert
• Producer: Doug Belgrad
• Makeup Artist: Emma Moffat
• Art Direction: Til Frohlich
• Screenplay: Michael Petroni
• Screenstory: Chester Hastings
• Screenstory: R. Dean McCreary
• Book: Gabriele Amorth
• Third Assistant Director: Ian Adams
• Assistant Director Trainee: Alan Elbakidze
• Executive Producer: Sophie Cassidy
• Editor: Matt Evans
• Set Decoration: Claire Levinson-Gendler
• Key Production Assistant: Julia McCarthy
• Prosthetics: Sophie Flynn
• Prosthetic Makeup Artist: Aisling Nairn
• Second Assistant Director: Sarah Harte
• Casting: Anne McCarthy
• Prosthetic Makeup Artist: Viktoria Stieber
• Director of Photography: Khalid Mohtaseb
• Production Design: Alan Gilmore
• Production Manager: Ailish Bracken
• Casting: Dan Hubbard
• Casting: Amy Dolan
• Hair Designer: Orla Carrol
• Art Direction: Gary McGinty
• Prosthetics: Tristan Versluis
• Costume Design: Lorna Marie Mugan
• Assistant Director Trainee: Rachel Wren
• Sound Designer: Matt Yocum
• Animatronics Designer: Vincent Mensink
• Costumer: Giampaolo Grassi
• Assistant Location Manager: Jack Farrelly
• Carpenter: Ben Crimmins
• Sound Mixer: Vasyl Gudz
• Sound Mixer: Simon J. Willis
• Stunts: Seth Collins
• Stunts: Fionn Condren
• Stunts: Vladislav Jacukevič
• Digital Imaging Technician: Jonathan Ozan
• Music Editor: Tim Ryan
• Third Assistant Director: Robert Kiernan
• Sculptor: Isabella Walsh
• Special Effects Supervisor: Paul Byrne
• Special Effects Makeup Artist: Marcos Sagasta
• Stunt Driver: Aoife Byrne
• Lighting Technician: Sean Conroy
• Storyboard Artist: Graeme Callander
• Boom Operator: Oscar Pescott
• Stunt Double: Hannah Behan
• Stunts: Norman Kelly
• Stunt Coordinator: Giedrius Nagys
• Stunts: Donal O’Shea
• Stunts: Martin White
• First Assistant Editor: Phoenix Chisholm
• Assistant Location Manager: Evelyn O’Neill
• Visual Effects Supervisor: Greg Strasz
• Stunt Double: Aoife Bailey
• Stunts: Isaac Kearns
• Stunts: Yeray Morillas
• Second Assistant “B” Camera: Gerard O’Keeffe
• Best Boy Grip: Jason Ruffley
• Colorist: Fergus Rotherham
• Makeup Designer: Lynn Johnson
• Fight Choreographer: Jessica Grant
• First Assistant Director: James McGrady
• Crowd Assistant Director: Rachel Morgan
• Assistant Art Director: Curnan O’Connell
• Gaffer: Barry Conroy
• Dolly Grip: Richie Egan
• Digital Imaging Technician: Simon Keenan
• Costume Assistant: Alejandra McNamara
• First Assistant Editor: Jackie Jarvis
• Props: Joanne Carstairs
• Camera Trainee: Greg Kozma
• Script Supervisor: Silvia Bellitto
• Executive Producer: Jo Homewood
• Assistant Director Trainee: Dee Doyle
• Sculptor: Dave Flynn
• Assistant Art Director: Erin Hermosa
• Stunts: JJ Battell
• Assistant Set Decoration: Gary Middlewick
• Supervising Sound Editor: Robert Stambler
• Stunt Double: David Flynn
• Video Assist Operator: Gemma Bovenizer
• Digital Imaging Technician: Cel Bothwell-Fitzpatrick
• Camera Trainee: Ben Ingoldsby
• Rigging Gaffer: Colin John Kelly
• Scenic Artist: Mark Forbes
• Sculptor: Melissa Mulligan
• Sound Assistant: Ivan Aleksandrov
• Stunt Coordinator: Brendan Condren
• Stunts: Lara Serviolle
• Assistant Art Director: Lizzie Osborne
• Set Designer: Mary Pike
• Creature Design: Daniel Carrasco
• Stunts: Martin Kenny
• Second Assistant “C” Camera: Daniel Bolaños Meade
• Second Assistant “A” Camera: Evan Fanning
• Casting Assistant: Simon Higgins
• Construction Manager: Darren Crimmins
• Standby Art Director: Taine King
• Graphic Designer: Anaïs Mulgrew
• Foley Mixer: Amy Barber
• Sound Assistant: Guillaume Beauron
• Sound Effects Editor: Ryan A. Sullivan
• Stunts: Alessandro Romeo
• Assistant Costume Designer: Ciara O’Toole
• Art Department Coordinator: Gary Cagney
• Storyboard Artist: Ken Perkins
• Best Boy Lighting Technician: Graeme Haughton
• Conductor: Robert Ames
• ADR Mixer: James Hyde
• Animatronics Supervisor: Rolf te Booij
• Stunt Double: Damian Lynch
• Digital Imaging Technician: Jonny Burnside
• Costume Assistant: Damiano Di Giacomo
• Stunt Double: Jokubas Nagys
• Stunt Double: Michelle O’Loughlin
• First Assistant “B” Camera: John McCarthy
• First Assistant “C” Camera: Charlie Fleetwood
• Key Grip: Philip Murphy
• Costume Supervisor: Rhona McGuirke
• Assistant Camera: Mark Hannon
• Costume Coordinator: Cáitlín Keenan
• Original Music Composer: Jed Kurzel
• Music: The Cult

Catogories:
Horror,Thriller
This is one clever plugin!

Inspired by the actual files of Father Gabriele Amorth, Chief Exorcist of the Vatican.
Language:
English,Fulfulde,Deutsch,Italiano,Latin,Português,Español
Production:
United States of America
Company:
Screen Gems,2.0 Entertainment,Loyola Productions
Popularity:
82.62
Date:
2023-04-05
Year:
2023

• CinemaSerf: Based on a real character from the murkier side of quite recent Vatican operations, Russell Crowe dons his cassock and travels to a remote abbey in Spain where his meets with “Fr. Esquibel” (Daniel Zovatto). Why? Well it seems that a young boy is being possessed by a singularly nasty demon. Now Fr. Amorth is not unused to these scenarios and is also aware that the vast majority of these situations have nothing to do with satanic practices and more to do with mental health issues. Quickly, though, he realises that this is a serious and potentially deadly demonisation and both he and his colleague must discover what went on at this place and just who their violent foe is, before they can have any hope of casting it back into the shadows. That’s the plot, and to be fair Crowe actually plays his character with a bit of charisma, but the rest of this is the same old loudly scored, visual effects feast with plenty of routine dramatic scenes: screaming, eye-popping, ceiling climbing, bodies and holy water thrown about the place and this one even has a bit of the Spanish Inquisition thrown in for added authenticity. It’s not that is terrible – it isn’t; it is just all so very derivative. Just because the exorcist was real doesn’t actually make this film any different from an whole spate of other similar films that have the same beginning, middle, and end… It will do fine on the television around Halloween, but the cinema adds little to the presentation. It’s nice to see that Franco Nero is still making films, but otherwise this is adequate, but nothing more.
• Manuel São Bento: MORE SPOILER-FREE MINI-REVIEWS @ www.msbreviews.com/movie-reviews/mini-reviews-2023-edition

  “The Pope’s Exorcist swings for the fences with well-directed horror sequences by Julius Avery, who wasn’t afraid to take advantage of the R rating to deliver a substantial amount of gore. Unfortunately, it isn’t able to escape the narrative formulas of “humans possessed by demons” repeated over several decades in this “subgenre” of exorcisms. Russell Crowe elevates the movie quite a bit with a well-rounded performance, seamlessly blending the dramatic moments with his character’s comedic personality. However, the constant tonal changes create uncertainty about the type of film we’re supposed to be watching. Personally, it’s a mixed bag…”

  Rating: C+

• Louisa Moore – Screen Zealots: When you buy a ticket for a movie like “The Pope’s Exorcist” it’s pretty clear what you’re getting into. There’s a ton of Catholic imagery like the rosary, crucifixes, holy water, church rituals, and lots of prayers, all used to fight off the demonic possession of an innocent. All of the standard elements are present here, but director Julius Avery‘s film surprisingly offers a refreshing (if somewhat routine) take on the religious horror subgenre.

  Elevated by a well thought-out story and an engaging performance from Russell Crowe, the film tells the story of Father Gabriele Amorth (Crowe), Chief Exorcist of the Vatican (and one of the most controversial figures in the Church’s modern era). The script is inspired by the Father’s actual files of his time spent conducting exorcisms for the Catholic Church, which is enough to make your skin crawl.

  The movie follows Father Amorth as he travels to Spain to investigate a young boy’s (Peter DeSouza-Feighoney) possession by a powerful demon. Aided by local priest Father Esquibel (Daniel Zovatto), Father Amorth tries to help the child before it’s too late. In the process, he uncovers a centuries-old conspiracy that the Vatican has desperately tried to keep hidden.

  It’s a really great story, and one that feels more plausible than other religious horror fantasies about supernatural possessions. (You know what I mean). There are solid scares, bloody violence, and creepy imagery that are all done quite well. It’s slightly goofy but played with sincerity, which is why the film never teeters on the edge of camp. This isn’t a case of a movie that’s so bad it’s good, it actually is good.

  While it may seem like there isn’t a lot here to separate the film from other exorcism stories (especially when there are several scenes of priests reciting prayers while brandishing crosses at a child who, possessed by a demon, is screaming obscenities in a growling voice), the depth of the storytelling is what makes a huge difference. Every element clicks in unison here, from the screenplay to the direction to the better than expected performances.

  “The Pope’s Exorcist” is the type of movie that should be forgettable, but isn’t. I actually enjoyed it because it overdelivers on what it promises, and is a lot better than you’d expect.

  Towards the end of the movie, I literally starting thinking, “wow, Crowe and Zovatto should star in future installments as ass-kicking priest sidekicks,” and bam! The film went ahead and set itself up for a sequel: 199 of them, to be exact. As batty as this sounds, I would — pun intended — watch the hell out of that.

  **By: Louisa Moore / SCREEN ZEALOTS / WWW.SCREENZEALOTS.COM**

• Karma: Its actually a great movie like it trun into a bit dark one in the end
• Nathan: I was pleasantly surprised at how much I enjoyed The Pope’s Exorcist. After initially seeing the trailers, I wrote this movie off as a standard possession film that I have seen time and time again, and while most of that is still true, there is something about this film that made it a joy to watch.

  The film does not attempt to do anything particularly new or groundbreaking in the genre, but everything it has is handled with care and precision. The direction is fantastic, with a very quick pace that makes each scene have a sense of urgency as our characters attempt to perform the exorcism. There is particularly deep lore that is established within the church structure, with different factions and politics at play that add a slightly different dimension rather than just your run-of-the-mill “insert random priest here.”

  My favorite aspect of the film is the acting. I think all of the adult characters do a tremendous job here. Russell Crowe kills it in every scene he is in and definitely gives an entirely different take on the exorcist character. Where most are intensely serious and melodramatic, Crowe adds a bit of whimsicalness and youth to the character that creates a calming presence to every intense scene. His rapport with Daniel Zovatto is excellent. The two really play off each other well and carried the film in many ways. Alex Essoe was great, although underutilized. The two children were okay. The boy gave a very stereotypical portrayal of a possessed child, and the daughter was flat in many ways.

  My only complaint about the entire film is its lack of originality and the story. Every single beat is something that we have seen before; there were no new or fresh ideas that were interjected into the story. The tension was fine, but nothing was particularly scary. Overall, if not for the film’s fantastic director and cast, it would have been a bomb.

  Score: 63% 👍
  Verdict: Decent

• hollowguy88: An episode of supernatural would’ve done a better job. Movie was mid at best
• dhruvin2412: Bad Movie