Don’t be fooled: despite the fact that producer Eli Roth has stacked his name above the title on posters and advertisements, The Last Exorcism has absolutely nothing in common with Roth’s adolescent torture-porn Hostel franchise. And despite a titular invocation of the original The Exorcist (with an implied promise to put a tourniquet on any more sequels), Daniel Stamm’s film bears little resemblance to William Friedkin’s moody, head-spinning freak-out. Instead it’s something more curious, and quite welcome: a deft, intelligent, pseudo-documentary thriller disguised as a horror movie. Until it concedes to standard slash-and-rush tactics in the final act, The Last Exorcism manages to be scary without resorting to cheap special effects or gore. It’s not as good as it could have been, but it’s so much better than expected.
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REVIEW: Last Exorcism Starts Strong But Can’t Close the Pseudo-Doc Deal
