The Pope's Exorcist is derivative, following formulas that viewers thoroughly know before it even begins. There's heavy exposition, flat characters, corny sequel bait, blunt dialogue, contrivances, comical cliches, and passive Catholic church advertising. Despite these stale tendencies, the film does a few key things right. It develops the protagonist's backstory and internal conflict, there's some symbolism, and it mostly commits to its themes about confronting our sins. Plus, the acting adds light humor, range, and vulnerability (though the performances are spotty). Essentially, The Pope's Exorcist has proficient moments but doesn't elevate beyond its lack of originality.
Similarly, The Pope's Exorcist flashes technical skill in a generic slog. The imagery uses dramatic lighting, angles, motion, and focus, yet it's largely dark and drab. Its editing offers inserts, cross cuts, flashbacks, clunky transitions, and dull momentum. The sound adds split cuts, risers, violence, echoes, distortions, and silly stings. Its music is instantly forgettable and often overdramatic. The production design creates vague senses of time and place, yet an indistinguishable main setting. The only notable cast member is Crowe. Its effects provide decent makeup and ugly CGI. Overall, The Pope's Exorcist buries kernels of creativity under bland and tired horror tropes.
Writing: 4/10
Direction: 5/10
Cinematography: 6/10
Acting: 6/10
Editing: 4/10
Sound: 7/10
Score/Soundtrack: 4/10
Production Design: 5/10
Casting: 5/10
Effects: 6/10
Overall Score: 5.2/10
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