The Exorcism of God movie review and film summay

The Exorcism of God: A Provocative Yet Flawed Horror Experience

Introduction

Released on March 11, 2022, by Saban Films, The Exorcism of God is a Mexican-Venezuelan supernatural horror film directed by Alejandro Hidalgo that boldly ventures into the well-trodden exorcism subgenre. Starring Will Beinbrink as Father Peter Williams, María Gabriela de Faría as the possessed Esperanza, Irán Castillo as Magali, and Joseph Marcell as Father Michael Lewis, the film attempts to blend reverence for classics like The Exorcist (1973) with a subversive narrative tackling faith, sin, and institutional corruption. With a 57% approval rating on Rotten Tomatoes and a 41/100 on Metacritic, the film polarized critics, earning praise for its daring themes and criticism for its reliance on genre tropes. This 1000-word article provides a detailed plot summary and a critical review, exploring the film’s strengths, weaknesses, and place in the horror landscape.

Plot Summary

The story begins in 2003 in a remote Mexican town, where American priest Father Peter Williams (Will Beinbrink) is summoned to perform an exorcism on Magali (Irán Castillo), a nun showing signs of demonic possession. Defying the orders of his mentor, Father Michael Lewis (Joseph Marcell), Peter conducts the ritual alone. In a disturbing sequence, the demon Balban manipulates Peter’s desires, leading him to sexually assault Magali while under its influence. The exorcism seemingly succeeds, but Peter, haunted by his actions, records a confession on a VHS tape and sends it to the Vatican. The incident’s full consequences remain shrouded in mystery.

Eighteen years later, Father Peter is a beloved figure in his Mexican parish, running an orphanage and performing charitable acts, possibly as atonement for his past. His tranquility is disrupted when children in the village begin dying from a mysterious illness. Suspecting divine retribution, Peter soon learns the true cause: the demon Balban has returned, now possessing Esperanza (María Gabriela de Faría), a young woman imprisoned in a local women’s prison. In a shocking revelation, Esperanza is revealed to be Peter’s daughter, conceived during the assault on Magali.

Peter seeks help from Father Michael, an experienced exorcist, to confront Balban. As they investigate, they discover the demon’s influence has spread, possessing multiple inmates in the prison, turning it into a chaotic battleground. During a tense confrontation, Peter confesses his sin from 18 years ago, admitting his role in Magali’s assault and Esperanza’s birth. Father Michael, in turn, reveals his own dark secret: he once made a pact with Balban to save a soul, leaving the demon undefeated.

The climactic exorcism takes place in the prison, where Balban presents Peter with an agonizing choice: save the dying children, save his daughter, or preserve his faith. In a tragic act of sacrifice, Peter renounces his connection to God, allowing Balban to possess him fully to spare the others. The film concludes on a chilling note, with a possessed Peter displaying a demonic grin, leaving the fates of Esperanza, the children, and the town ambiguous. A final scene suggests Esperanza may be aware of her father’s possession, hinting at a potential sequel.

Review

Strengths

The Exorcism of God stands out for its bold willingness to tackle taboo subjects within the exorcism subgenre. The film’s exploration of ecclesiastical sexual abuse, institutional hypocrisy, and the moral complexities of sin and redemption adds a layer of depth rarely seen in possession horror. The narrative’s central twist—Peter’s assault on Magali and the revelation of Esperanza as his daughter—is a gut-punch that challenges viewers to grapple with uncomfortable moral questions. This provocative approach distinguishes the film from more formulaic entries in the genre.

Visually, the film impresses with its atmospheric cinematography and effective makeup effects. The prison setting, where possessed inmates create a claustrophobic, almost slasher-like atmosphere, is a creative departure from the typical haunted house or church backdrop. María Gabriela de Faría delivers a standout performance as Esperanza, embodying Balban’s menace with a mix of physical intensity and eerie charisma. Joseph Marcell’s Father Michael provides a grounding presence, injecting gravitas and occasional levity into the film’s darker moments. The sound design is another highlight, with unsettling audio cues amplifying the horror.

The film’s subversive elements, such as a possessed Jesus figure attacking Peter, push the boundaries of religious horror, delivering shocks that are both blasphemous and memorable. Its pacing, while uneven, maintains momentum through unpredictable twists, culminating in a finale that is both emotionally resonant and disturbingly ambiguous. The film’s commercial success, earning the Box Office International Achievement Award as the highest-grossing Latin American film of 2022, underscores its appeal to horror audiences seeking something beyond jump-scare fodder.

Weaknesses

Despite its ambitions, The Exorcism of God falters in execution. The film leans heavily on genre clichés—jump scares, crab-walking demons, and vulgar demonic dialogue—that dilute its subversive potential. Critics, such as Meagan Navarro of Bloody Disgusting, noted a lack of character depth, particularly for Father Peter, whose flat arc makes it challenging for audiences to connect with his struggle. Will Beinbrink’s performance, while serviceable, lacks the emotional range needed to fully convey Peter’s torment, rendering his redemption arc less impactful.

The film’s handling of sensitive themes, particularly the assault scene, is problematic. The sequence veers into exploitative territory, prioritizing shock value over nuanced commentary, which may alienate viewers. The third act, with its overblown chase sequences and subpar CGI, shifts from psychological horror to campy excess, undermining the film’s earlier tension. The ambiguous ending, while bold, leaves too many threads unresolved, potentially frustrating viewers seeking closure. The reliance on derivative elements from The Exorcist and The Exorcist III, such as the iconic lamplight scene, feels more imitative than innovative at times.

Themes and Cultural Context

The film’s exploration of faith, sin, and redemption is rooted in Catholic theology, questioning whether good deeds can atone for grave sins. Peter’s sacrifice—renouncing his faith to save others—challenges traditional notions of salvation, presenting a morally gray resolution. The critique of institutional corruption, particularly the Vatican’s cover-up of Peter’s confession, resonates with real-world scandals, adding a layer of social commentary. However, the film’s occasional reliance on stereotypes, such as Peter’s homophobic sermon, risks undermining its critique by playing into caricature.

Set in a Mexican context, the film incorporates cultural elements, such as the rural parish and prison, to ground its supernatural horror in a tangible setting. Yet, it stops short of fully exploring the cultural nuances of Mexican Catholicism, which could have enriched its narrative. The prison setting, while effective, feels underutilized, with the possessed inmates serving more as plot devices than fully realized characters.

Reception and Legacy

Critics were divided on The Exorcism of God. Justine Smith of RogerEbert.com praised its logical character progression and originality, while Phil Hoad of The Guardian described it as a “big, gaudy, overblown altarpiece,” capturing its polarizing blend of ambition and excess. Horror fans on platforms like Reddit’s r/horror appreciated its shocks but criticized its lack of character depth. Its availability on Prime Video and VOD has made it accessible, appealing to viewers seeking a fresh, if flawed, take on possession horror.

Conclusion

The Exorcism of God is a provocative yet imperfect addition to the exorcism subgenre. Its daring exploration of faith, sin, and institutional corruption, combined with strong performances from María Gabriela de Faría and Joseph Marcell, makes it a compelling watch for horror enthusiasts. However, its reliance on clichés, uneven pacing, and exploitative handling of sensitive themes prevent it from reaching the heights of its inspirations. For those willing to embrace its blasphemous thrills and overlook its shortcomings, the film offers a chilling, thought-provoking experience that lingers. Its commercial success and bold narrative choices suggest potential for a sequel, which could refine its promising ideas.