The Rite
The supernatural thriller The Rite is a different kind of literary adaptation, a film not "based on" or even "inspired by" a written work, but rather "suggested by" one. The degree to which this fictional film adheres factually to its source material, Matt Baglio's book The Rite: The Making of an American Exorcist, is anybody's guess. Fans of The Exorcist might argue that it's more strongly "suggested by" William Friedkin's 1973 horror classic than anything else.
Erstwhile unknown Colin O'Donoghue, in his first feature role, plays Michael, a seminary student sent to Rome to learn the intricacies of demonic possession. A pronounced skeptic who isn't even sure he believes in god, much less the Catholic doctrine of exorcism, Michael is inclined toward the more humanistic view of the "possessed" as simply disturbed or schizophrenic individuals. What they really need, he insists, is not a priest but a good psychiatrist. (That belief certainly won't endear him to the Church of Scientology.)
To rid him of such malignant pragmatism, Michael's headmaster (Ciaran Hinds) ships him off to serve an apprenticeship under Father Lucas (Anthony Hopkins), a Welsh Jesuit (shorthand for "eccentric") and practicing exorcist. Having been around the theological block a few times, Lucas reacts to Michael's unbelief with wry nonchalance (a Hopkins specialty and the film's most appealing trait); he knows that Satan's arguments will prove far more convincing than any he might offer.
And Satan gets to work forthwith, first using a pregnant Italian girl as his vessel, then incorporating other representatives of the animal kingdom, tormenting Michael with horned frogs and red-eyed demon mules. At first exhibiting admirable restraint, director Mikael Hafstrom eventually employs just about every weapon in his terror arsenal, bombarding Michael with harrowing visions and flashbacks (he grew up in a funeral home with an undertaker father, played by Rutger Hauer, who had a habit of bringing his work home with him) which offer ample opportunities for cheap scares. His trump card, of course, is Hopkins, whose character eventually becomes possessed himself, thus allowing The Rite to fulfill the Lucas/Lucifer conceit we all knew was coming.
The Rite varies wildly in tone, with Hafstrom seemingly unable to decide if his film is to be a moody, serious-minded psychological thriller or some campy, outlandish horror-comedy. By the time Father Lucas becomes possessed, and the reenactment of the first great celestial battle begins, the film gives itself wholly over to the latter. As channeled by Hopkins, the devil comes off as a less eloquent, more vulgar version of Hannibal Lecter, taunting Michael with naughty words and voraciously devouring scenery. The Dark Lord as a dirty old man is something of a novel concept, I suppose. Scary? Maybe a little. Creepy? Oh hell yes.
Hollywood.com rated this film 2 1/2 stars.