Dominion: Prequel to The Exorcist
3/4
Starring: Stellan Skarsgard, Gabriel Mann, Clara Bellar, Billy Crawford, Ralph Brown, Julian Wadham
Rated R for Strong Violence and Disturbing Images
Morgan Creek Productions presented us with an extraordinary opportunity; the opportunity to see the same story presented in two almost completely different ways. Of course, this isn't what the company had in mind when they greenlighted Paul Schrader's version, but that's how things turned out. True, remakes have presented different versions of the same story (or in some cases, a carbon copy), but this is a different case altogether, I think. "Exorcist: The Beginning" is so radically different than "Dominion: Prequel to the Exorcist" that they're more cinematic cousins rather than Renny Harlin's film being a remake of the other.
Schraeder made a point that he was making a psychological drama rather than a gory horror film. So he has. Although there are moments when this film is violent and scary, it's really about Lankester Merrin (Skarsgard) rediscovering his faith. It may not be the most interesting aspect of the film, but it is the main thrust of it.
After being forced to do the unthinkable, Lankester Merrin has gone away from the cloth. Now, he's working as an archaeologist. He is working to excavate a church found in the African desert. The church wants a young priest, Father Francis (Mann), to oversee it since Merrin has taken a sabbatical. Once fully excavated, Merrin and Francis discover a beautiful church that is built in a very strange way. They realize that it is hiding some secrets, but they will only discover them when it is too late. Meanwhile, the local nurse, Rachel Lesno (Bellar) is looking after a local outcast named Cheche (Crawford), who is recovering from a brutal attack with surprising speed.
The acting varies. Stellan Skarsgard, being the hard-working and talented actor that he is, is good as Merrin (just as he was in "Exorcist: The Beginning"). We understand him and like him, although the limitations of the script don't allow him to go deep enough to get us to truly feel for him. If only the same could be said for Gabriel Mann. Mann was hired on the spot when he showed up to the audition wearing a priest's outfit and carrying a copy of "The Exorcist" DVD. Bad decision. He may look the part, but he can't act to save his life. Mann is as stiff as a cement block; when he got thrown around, I was worried that he'd crumble (okay, maybe not, but I should have been). Somewhat more impressive is Clara Bellar, who plays the sympathetic nurse. She's good, but not standout. The best performance goes to Billy Crawford, who shines in a physically and emotionally demanding role as the mysterious Cheche (more than that, I will not say).
I suppose it's only fitting that Paul Schrader directed this movie (although he did not write it). Schraeder grew up in a strict Calvinist home (he wasn't allowed to see movies until the age of 18) and usually writes movies about unstable characters (he wrote "Taxi Driver" and "Raging Bull," among others). His work is solid, but not stand out. He lacks a sense of atmosphere (and like the other film, the CGI is incredibly cheesy), and the film's plot rests on an undeveloped foundation, which lessens the impact of the main subplot. Still, he manages to generate some suspense and get us invested in Merrin's fate. In other words, he does his job.
Of the two films, this is the one to see. But it would be unfair not to watch the other one, since they are so closely related. Although I can't recommend the Renny Harlin picture, it does contain its pleasures and is most certainly watchable. It's a unique opportunity to compare two different visions of the same story. The two would make a wonderful double feature.
Starring: Stellan Skarsgard, Gabriel Mann, Clara Bellar, Billy Crawford, Ralph Brown, Julian Wadham
Rated R for Strong Violence and Disturbing Images
Morgan Creek Productions presented us with an extraordinary opportunity; the opportunity to see the same story presented in two almost completely different ways. Of course, this isn't what the company had in mind when they greenlighted Paul Schrader's version, but that's how things turned out. True, remakes have presented different versions of the same story (or in some cases, a carbon copy), but this is a different case altogether, I think. "Exorcist: The Beginning" is so radically different than "Dominion: Prequel to the Exorcist" that they're more cinematic cousins rather than Renny Harlin's film being a remake of the other.
Schraeder made a point that he was making a psychological drama rather than a gory horror film. So he has. Although there are moments when this film is violent and scary, it's really about Lankester Merrin (Skarsgard) rediscovering his faith. It may not be the most interesting aspect of the film, but it is the main thrust of it.
After being forced to do the unthinkable, Lankester Merrin has gone away from the cloth. Now, he's working as an archaeologist. He is working to excavate a church found in the African desert. The church wants a young priest, Father Francis (Mann), to oversee it since Merrin has taken a sabbatical. Once fully excavated, Merrin and Francis discover a beautiful church that is built in a very strange way. They realize that it is hiding some secrets, but they will only discover them when it is too late. Meanwhile, the local nurse, Rachel Lesno (Bellar) is looking after a local outcast named Cheche (Crawford), who is recovering from a brutal attack with surprising speed.
The acting varies. Stellan Skarsgard, being the hard-working and talented actor that he is, is good as Merrin (just as he was in "Exorcist: The Beginning"). We understand him and like him, although the limitations of the script don't allow him to go deep enough to get us to truly feel for him. If only the same could be said for Gabriel Mann. Mann was hired on the spot when he showed up to the audition wearing a priest's outfit and carrying a copy of "The Exorcist" DVD. Bad decision. He may look the part, but he can't act to save his life. Mann is as stiff as a cement block; when he got thrown around, I was worried that he'd crumble (okay, maybe not, but I should have been). Somewhat more impressive is Clara Bellar, who plays the sympathetic nurse. She's good, but not standout. The best performance goes to Billy Crawford, who shines in a physically and emotionally demanding role as the mysterious Cheche (more than that, I will not say).
I suppose it's only fitting that Paul Schrader directed this movie (although he did not write it). Schraeder grew up in a strict Calvinist home (he wasn't allowed to see movies until the age of 18) and usually writes movies about unstable characters (he wrote "Taxi Driver" and "Raging Bull," among others). His work is solid, but not stand out. He lacks a sense of atmosphere (and like the other film, the CGI is incredibly cheesy), and the film's plot rests on an undeveloped foundation, which lessens the impact of the main subplot. Still, he manages to generate some suspense and get us invested in Merrin's fate. In other words, he does his job.
Of the two films, this is the one to see. But it would be unfair not to watch the other one, since they are so closely related. Although I can't recommend the Renny Harlin picture, it does contain its pleasures and is most certainly watchable. It's a unique opportunity to compare two different visions of the same story. The two would make a wonderful double feature.
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