“Sometimes I believe the satan’s within the Vatican’s personal ranks.” Whereas the true-life horror of Roman Catholic youngster abuse in all probability wouldn’t sit simply in a style movie, this bombastic however often shocking Mexican-Venezuelan exorcism flick does have interaction with ecclesiastical sexual abuse in a extra common sense. Proper all the way down to its blaspheming finale, The Exorcism of God burns with a subversive need to tear again the veil on the church’s earthly corruption – however the iconoclasm is considerably undermined by the daft horror mechanics Venezuelan director Alejandro Hildalgo props it up with.
Rookie American priest Peter Williams (Will Beinbrink) ill-advisedly takes it upon himself to offer a yellow-eyed demon its marching orders from the physique of a nun, Magali (Irán Castillo). However, confronted with the succubus tied to a mattress, he’s briefly possessed by the entity himself and loses management. Eighteen years later, he has apparently recovered and is revered at a Mexican orphanage. However, the kids dying in his care trace on the secret festering beneath this veneration; when he’s known as to a hellhole penitentiary to look at a disturbed prisoner, he should immediately confront the previous once more: “She doesn’t want a physician. She wants a priest.” (A trailer-ready line, if ever there was one.)
Recreating the lamplight poster shot from The Exorcist, Hildalgo doesn’t precisely disguise who he’s in thrall to – although his movie is to William Friedkin’s traditional what hair metallic was to Led Zeppelin. He gilds it thick – from a “sexorcist” opening sequence, whose tinge of exploitation flouts many of the underlying level about malfeasance, to Joseph Marcell’s mezcal-swigging super-priest, to the evil, crab-walking Christ in Williams’ nightmares. Making an attempt to enhance on the fundamental priest v demon religious showdown by having the movie enter quasi-slasher territory, with a jail filled with possessed inmates, actually is leaping the sacrament, although. The closing part has an plain cynical swagger, however it is a large, gaudy, overblown altarpiece of a horror film.