Review: The Exorcists

Text © Richard Gary / Indie Horror Films, 2022
Images from the Internet

The Exorcists
Directed by Paul Andrich
Terribly Important Films; The Movie Agency; Winnipeg Film Collective; Bayview Entertainment
88 minutes, 2022
www.facebook.com/bayviewentertainment/

Films that are focused on exorcisms rarely lean towards the comedy (well, intentionally), but some do, like Repossessed (1990), and more recently The Good Exorcist (2018). The concept of Exorcists for hire is also out there, but I like the idea of something so dire being up for laughs. Especially after The Song of Solomon (2015). 

One of the nice things about a theme of exorcists for hire is that it means we get to see a few of the processes, and each will be different. In this Winnipeg-based film, we meet Patrick, or Pat (Jordan Guay), as he is getting fired from his day job as a video editor, thanks to Covid. But he ends up, thanks to timing, working as a videographer for the titular exorcist, Tom (director Paul Andrich).

Meanwhile, a trio of dastardly villains, led by, of course, Damien (Susan Loewen), and backed by the likes of clown-masked Brian (Daniel Cormier), have wrangled a sacred object which leads them to the path of opening up the gates to another dimension to let in the Dark Lord. Mundane objects (e.g., a pair of specs that are supposed to be from the 13th Century, though they look like the $2 reading glasses you get from the large pharmacies like CVS, or in this case, Shopper’s Drug Mart) are the key to unlock the evil.

Tom is a bit of an odd character, but he comes up with surprise after surprise in his skills, which actually are humorous to watch. Patrick is at first taken aback by him, but not only do you know they will find a common pathway, but that pathway will also collide with Damien and crew in the third act.

I have to say, this film is actually quite smart and takes some leaps and bounds in the writing that are truly fun. There humor is very carefully honed, with subjects such as sexy Mennonites in Manitoba. There is also a veeeery subtle bit about suburban design as Patrick tries to find a house among circular cul-de-sacs. A lot of prairie cities are doing this now (and they always have similar names, such as Smith Crescent, connected to Smith Lane, connected to Smith Drive, and so on, all leading into each other). As you can see, the humor isn’t broad and goofy, and in fact, it is wisely used judiciously and that makes it work. Some of the best humor is when the characters are playing it straight to the events around them, and this is one of those.

Another subtle aspect that I enjoyed is that they equate a group of Jesus fanatics as not being much different than the Satanists, though in this story, both are real. Of course, in my opinion, they are both actually based on mythology rather than reality, praying to something they have never seen (on faith). This is a sharp commentary, though it’s taken with a Lot’s Wife size of salt (ever notice she was not given a name in the Bible, though her fate is remembered more than Lot’s?). Though both sides are represented, this is not a religious film that preaches.

The film also does not preach about Covid. Tom is a bit on the Conservative side, and Patrick is more Liberal (though I cannot imagine he actually votes). The masks are used as props more than anything else as some wear them, some do not (I still wear mine in public). Its presence in the film is mentioned often (unlike the vaccine) so, again, there is no preaching one way or another.

Manitoba is also mentioned a few times in various degrees of an elbow in the side kidding; kind of a “why Manitoba?” as one character openly states about a key object. I’ve only been to Manitoba once (Winnipeg) to attend a going-away party, driving through downtown to the ‘burbs that look very similar to that getting lost sequence. Thank god for GPS on my phone: got me there, got me out.

Secondary characters find their way into the fray as well, such as Frank (Ward Massner) and Tom’s girlfriend, Elaine/Gloria (Athena Metallinos)… the film explains that double name, and I do not want to do it.

Sometimes the acting comes across a bit like community theater, but personally, I like community theater. It is totally appropriate for this film, which I enjoyed from beginning to end. The writing, the bread-and-butter cinematography by Daniel Collins all works together. This is an acting troupe that got together and did their own thing.

As the director/writer/producer, Paul Andrich told me, “I’m an acting coach. During the beginning of the Pandemic, when everything was in lockdown, to boost morale I paid my own acting clients to act in a film that we made together. I used my own savings to fund it.” Respect, Paul. And truly, if you readers get a chance to see this hidden (for now) gem, I highly recommend it.

IMDB listing HERE