‘The Ritual’ Review: Exorcisms Happen, Excitement Not So Much in Drab Horror Opus With Al Pacino

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Since David Midell’s “The Killing of Kenneth Chamberlain” in 2018, it’s been rare to encounter an exorcism-focused film that approaches its subject matter with such a heavy tone as “The Ritual.” Inspired by true events, this dramatic thriller maintains a more subdued approach compared to traditional horror films, focusing instead on the psychological repercussions of the events for those involved. Despite its authenticity and strong performances, the film struggles to rise above being a somewhat somber movie, reminiscent of Paul Schrader’s “Exorcist” spinoff “Dominion,” although it lacks theological debates. Featuring heavyweights like Al Pacino and Dan Stevens, “The Ritual” is distributed by XYZ Films, which could draw in some genre enthusiasts. However, these fans might find their expectations disappointed, unless they take solace in the fact that this film represents a significant step up from the dismal “The Exorcist: Believer,” released two years prior.

The movie Midell is marketed as being based on “the true story that sparked ‘The Exorcist’,” but it’s worth noting that William Peter Blatty’s novel was more heavily influenced by a 14-year-old boy from Maryland who reportedly experienced demonic possession in the 1940s. The events depicted in Midell are based on accounts of Emma Schmidt, a middle-aged woman from the Midwest, who had already exhibited strange behaviors before being handed over to Catholic authorities for emergency spiritual intervention in 1928. Since the exorcisms (which lasted for four months) were documented by those involved, her experiences are seen as one of the strongest pieces of evidence by believers that occult possession is a real phenomenon.

In the movie, a younger adaptation of Schmidt, played by Abigail Cowen who appears quite youthful and could easily be mistaken for a teenager, arrives at St. Joseph’s as a timid, fearful, and submissive figure. The nuns of the convent are responsible for her daily care, while Father Joseph Steiger (Stevens) is assigned to document whatever happens during her stay. They all believe that Emma’s issue is psychological in nature. They find it unnecessary to keep her restrained as suggested by Father Theophilus Riesinger (Pacino), the visiting Capuchin friar, who will conduct the “ritualistic” exorcism.

It transpires that this situation is proving disastrous. While Emma might appear innocent, whatever has taken hold of her is cunning, malevolent, and brutal. It doesn’t take long for it to start causing fear among the novices, as well as targeting skeptic Steiger and young Sister Rose (Ashley Greene) who are seen as vulnerable points in the religious community. The destruction caused is so severe that the Mother Superior (Patricia Heaton) decides Emma must be moved to the institution’s basement. However, no matter where its long-term residents move or how securely their troubled guest is restrained, these members of the church feel an ominous, wicked presence lurking.

In this location, there’s nothing new: Furniture seems to move by itself, lights keep flickering and going off. Emma’s body bears the marks of a harsh internal conflict, while the malevolent entity also causes severe harm to those who unknowingly approach it closely. This vile creature possesses knowledge it shouldn’t have about our main characters, mimicking voices of deceased loved ones to deceive them. Despite everything, Pacino’s elderly priest maintains his composure – he appears to have faced similar situations before. (It’s worth noting that the real-life Riesinger had indeed previously attempted an exorcism on Schmidt in 1912, Wisconsin.)

In this supernatural setting, you might anticipate 85-year-old Pacino to overact dramatically, but surprisingly, he opted to portray his Bavarian immigrant character in a calm and composed manner. He handled the extraordinary, disturbing events with stoicism, exuding a sense of gentle leadership and humor rather than getting flustered. Interestingly, the usually confident Stevens seems less certain in this role, as if he’s worried about being involved in a B-movie horror cliché.

Despite the fact that it doesn’t deliver, “The Ritual” occasionally leaves you yearning for a more engaging experience. It simply fails to offer enjoyment, even though it falls short of the weight required to create a profoundly unsettling atmosphere, as William Friedkin successfully did with “The Exorcist” half a century ago. The character portrayed by Cowen, who shares a slight resemblance with Ashley Bell from “The Last Exorcism” (with Patrick Fabian playing a senior cleric in this film), brings a heart-wrenching vulnerability to her performance, but she often slips into being just a yelling, growling special effect rather than a fully fleshed-out character. Unfortunately, neither the tormented individual nor their tormenting demon are given much depth by Midell and Enrico Natale’s script.

As a fan, I must confess that despite some chilling and nerve-wracking scenes, the movie as a whole fell short of inspiring me. The director’s approach to horror seemed lackluster, and the atmosphere and characters failed to create a compelling and immersive world – making “Ritual” feel more like an oddly authentic documentary rather than a gripping horror film. By the time the credits rolled, I found myself yearning for that elusive, powerful climax that never quite materialized.

The film’s minimalist approach to production is suitable for its narrative, but one might expect a slightly bolder style from the cinematography and other technical teams led by Adam Biddle. “The Ritual” is commendable for not being just another repetition of common themes. However, this doesn’t offset the fact that it turns out to be a rather sincere struggle – an exorcism movie that leans more towards tame than terrifying.

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2025-06-06 07:17