Deliver Us from Evil

With Scott Derrickson, it's clear from the start that he's going to focus more on the crime element and only at the end will he pull out the horror cards. Actually, even in The Exorcism of Emily Rose and Sinister it was primarily crime driven horror, so to blame the director for something we assume with every other one of his ventures seems silly to me. So, about the film: the actors are decent, the high budget is obviously evident, the cinematography, editing, visuals are all of a high standard, the atmosphere is decently dark and gloomy, I was also pleased with the abundant animal presence, and the final exorcism was unnecessarily long, but it was uncluttered and decently horrific. For me, therefore, only positive impressions prevail. 75% (2014-10-15)

As the lightning struck a lone tree by the roadside, I began to suspect where the director's path would lead. This is because Derrickson's undoubted talent was given a financial infusion and bigger-name actors, but in doing so, he signed up for the Bruckheimerian devil that relies on clichés and plot banalities in the plot. In fact, it’s not really pulled off even by the few skillfully-conceived scary scenes and instead makes you lament how dysfunctional the chemistry between the characters is. This makes it subjectively about half an hour longer, and slightly more excruciating in the end than the filmmakers intended. (2014-11-07)

The film combines very well the quality filmmaking craft of an A-list name in the director's chair, fine acting by the lead duo, a dark and gritty line of detectives driving through a dirty town, and excellent scares and ghostly themes. It's all the more disappointing then that after a fantastic first half in every way, the film seems to have revealed all its cards and by the end it arrives as a very mediocre exorcist flick without a shred of invention, a memorable conclusion or an appealing denouement. In fact, this is pretty much how the film goes to waste, because during the first half I was screaming with joy at what a great film Scott Derrickson had made. Quite a shame. (2022-07-05)

A decent exorcist thriller that puts its money on a realistic environment. No shortage of surprises - and they work pretty well, even though nothing absolutely amazing and, if it wasn’t for the fairly standard story, I would definitely give it four stars. The clash in the finale was intense, thrilling and breathtaking. Derrickson has a talent at creating a great atmosphere, Dr. Strange is in good hands. (2014-10-29)

Demons are lousy room painters, and owls are not what they seem. A senselessly swollen mix of police procedural, a dark Fincher thriller about the crisis of (post) postmodern society, and all the exorcist horror movies you've ever seen. Instead of a chilling treatment of the actual events, Satchie's supposedly real case appears to be a confused excerpt of a viewer who has seen far too many genre films. Derrickson's style is very cumbersome compared to the sophistication and accuracy of Sinister, and there is very little work with gradation. After a few minutes, when guys with loose make-up and creaking devil whores parade on the screen, the film moves exactly on the unpleasant edge of terror and mockery. Although in my opinion he never went too far to one side, he also certainly didn't settle on the good one either. An excessive number of aggressive and unimaginative jump scares, this time mostly dysfunctionally involved in various ways of shooting, a couple of traditionally luxurious sonic terrors that are important for storytelling, excellently cast starring roles, and proof that Doors are evil only good enough for Sumerian demons. I was expecting an (un)pleasant summer ride through a haunted castle in the style of the excellent Conjuring, and what I got was a confused patchwork of many films blinded by didactic discussions about good, evil and atonement for guilt. Were it not for the traditionally powerful Bana and especially Ramirez, who should be hired by the Vatican as a sexy Jesuit, it would be a mess. This way, its slightly above-average, but at the same time a demonstration that Derrickson doesn’t do all that well in a genre that he should be good at. Of his three horrors, Deliver Us from Evil is the weakest. (2014-07-03)