Well, The Ritual sure is another exorcism movie! The hook? This one’s got Al Pacino, Dan Stevens, Ashley Greene, and Patricia Heaton. The problem? The Ritual plays no better than the umpteenth generic exorcism release without marquee names, and sometimes even worse. Exorcism movies are a dime a dozen in the horror genre, and nothing here dares to push subgenre boundaries or expectations past the devil’s doorstep.
Filmmaker David Midell, along with co-writer Enrico Natale, recreates the famously documented 1928 exorcism of Anna Ecklund, a pseudonym for Emma Schmidt (played by Abigail Cowen). Stevens plays the doubting Father Joseph Steiger, a priest who must welcome Emma into his house of worship, while Pacino becomes the German-American exorcist celebrity (by Roman Catholic terms), Father Theophilus Riesinger. Under Father Riesinger’s command, Father Steiger has his faith challenged by Emma’s worsening condition. Is it a psychological affliction or truly a demonic curse? The jury’s still out, but the film certainly has its opinions.
Let’s start with the cinematography. The Ritual is not a faux-documentary, yet D.P. Adam Biddle’s handheld style of photography pulls and pushes focus on the fly like a production crew is following closely behind (think The Office). Perhaps Biddle is trying to recreate the sensation of watching footage reels of Father Riesinger’s prayer-based cleansing, but it doesn’t make narrative sense. As the camera jostles, adjusts frames and stays in pursuit, visual storytelling is lost in translation. There’s a lack of perspective (where the lens is pointed), which is a detrimental style choice.
Midell and Natale’s screenplay brags about the significance of Emma’s exorcism records, notably how the event inspired books, films, and other media. It’s, if you think about it, the patient zero exorcism story—riffed for decades by creators seeking organic inspiration. Yet, Midell does absolutely nothing to avoid comparisons to the very films that ripped off unsettling details of Emma’s treatment. You might crack jokes about Russell Crowe as The Pope’s Exorcist or debate interpretations of 2024’s The Exorcism (evil takes control of a movie set), but those movies dared to break the chains tethered to theological horror tropes. It’s paint-by-numbers by the publisher of the damn book’s militant standards, leaving far too much pressure on immaculate craftsmanship to succeed.
Unfortunately, The Ritual is more like a church theater play’s rendition of “The First Documented Exorcism.” Stevens steps away from being a certified weirdo to become another conflicted man of the cloth forced to recontextualize his relationship with God (yawn). Pacino is on autopilot as Father Riesinger, the antagonist of blasphemy, guides us through another run-of-the-mill soul rescue without making the performance his own. Others like Greene, Heaton, and even Abigail Cowen don’t have many opportunities to shine despite the latter’s role as an unholy vessel. What should be dangerous is dull, and what should strike emotional chords—Father Riesinger’s deceased brother and other of the devil’s manipulative tricks—tops out at “serviceable.” It’s all so stodgy and cookie-cutter, except rusted and bent out of use.
Ah, yes, and the horrors. Oh, the horrors you’ve absolutely seen and shrugged off before. You can predict what most “Rituals” will cover; each encounter with Emma is a new “Ritual.” She’s abused inside and out, with the most successful icks coming from vomit scenes where Emma ejects unnatural objects covered in sludge on command. Otherwise, Emma’s escape attempts, convulsions, and devastating deterioration take a thousand pages from countless other exorcism tomes. If done well, that’s not a problem—but Midell serves us a pint of Communion Waffer Vanilla.
There’s an exorcism script out there that Al Pacino and Dan Stevens would crush, but it’s not The Ritual. My disappointment here stems from an utter lack of exploration within the exorcism subgenre. It’s a film that’s banking on historical precedent and star-studded names, yet that’s not enough. The Ritual might be a suitable introduction to exorcism cinema, but that’s a low bar. No risk, no reward, as they say—a film that rigidly follows in footsteps instead of walking its own path.
Movie Score: 2/5
Matt Donato is a Los Angeles-based film critic currently published on SlashFilm, Fangoria, Bloody Disgusting, and anywhere else he’s allowed to spread the gospel of Demon Wind. He is also a member of the Critics Choice Association. Definitely don’t feed him after midnight.
Matt Donato is a Los Angeles-based film critic currently published on SlashFilm, Fangoria, Bloody Disgusting, and anywhere else he’s allowed to spread the gospel of Demon Wind. He is also a member of the Critics Choice Association. Definitely don’t feed him after midnight.
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