Review of indie psychological horror Dark Exorcism is over at Flickering Myth and below…
The subject of demonic possession has been a huge deal in the horror genre for ages, with 1973’s The Exorcist often cited as the scariest thing since sliced bread (or was that sliced head?, anyway pretty scary) and a stream of new pretenders constantly waiting in line. It is however, a difficult topic to do justice to. On one hand you have The Shining or Burnt Offerings showing the true psychological horror of possession. On the other you might have REC3 or worse, something like The Devil Inside or the worst excesses of the Paranormal Activity franchise.
In any case, Dark Exorcism – formerly titled In The Dark – is an intriguing addition to the possession style of movie and another impressive notch on filmmaker David Spaltro’s catalogue. The filmmaker specialises in thoughtful and emotional indie dramas (Around, Things I Don’t Understand) and bring this cerebral quality to the possessed horror movie sub-genre. With an impressive lightness of touch, the film stands well above most of the indie horrors making their way around the festival circuit and beyond. There is a neat theatrical edge to the production, allowing the cast to bring out the complexities of the script without relying on stock jumps and scares. More than anything else, this is about the personalities on show, and how each one copes with the ramifications of a potentially unexplainable situation. In effect, it’s not a standard low budget horror.
The strength of the largely female cast is shown in a three part psychological battle. Firstly there is the clash of ideas between the purely rational grad student Veronica (Lynn Justinger) and the experienced paranormal expert Lois Kearne (Fiona Horrigan). These two represent the opposite sides of the argument for and against the paranormal and for any evidence of ‘possession’. As the film progresses, another strong performance is sourced in Grace Folsom’s Bethany. Bethany is distinctly unwell, but exactly how unwell only becomes apparent after a few meetings. All three of the actors display a confidence in the work, and provide the depth to keep an audience second guessing.
The film keeps special effects to a minimum, thus making sure the audience concentrate purely on the performances and the dialogue. This works up to a point, although a little more mystery in regards the eventual outcome would have been welcome. All in all though, a well written and produced psychological possession movie.