Since Paul Schrader starred in 2004 in Dominion's Dominion, the exorcist thriller Dominion is so serious, like a "ritual". Based on real-life cases, such as director David Midell's previous "Kill Kenneth Chamberlain", this more fantastic drama is an effort to limit the standard horror effect rather than the psychological impact of the event on participants. Nevertheless, its integrity and performers can only do a great job in elevating a reluctant genre film, although it is different from “ruling”, but not from “ruling”, despite minus theological discussion. With Al Pacino and Dan Stevens’ performances, the release of XYZ Films should attract some fans of the genre. Nevertheless, their disappointment can only save their disappointment, as it is believed to be an absolute genre improvement to the bad “Exorcist: Believers” two years ago.

Midell's character is called the "true story of inspiring the Exorcist," despite William Peter Blatty's original novel allegedly more influenced by the so-called demonic property of Maryland boys in the 1940s. Here, the source is Emma Schmidt, a middle-aged Midwestern man who had been tortured by inexplicable behavior before handing over to Catholic authorities for emergency mental intervention in 1928. Since the clergy involved recorded the exorcism (which happened for four months), believers still viewed her suffering as one of the strongest evidence of mysterious ownership.

The movie Young Schmidt is played by Abigail Cowen, a twenties-something Abigail Cowen, and can be played for teenagers - coming to St. Joseph in a vulnerable, fearful and passive image. The responsibility of the nun in the monastery was her basic care, while parish priest Joseph Steiger (Stevens) was charged with keeping a written record of anything that happened during her stay. All of them thought Emma’s real problem was mental illness. They have little reason to put her under restrictions as the advice of the judicial priest (Pacino) of the judicial capucchin friar, who will perform the "sacred ritual" of the exorcism.

It turned out to be a big mistake. Emma herself may be a harmless victim, but whatever she masters, she is cunning, malicious and violent. Apart from using skeptic Steiger and sister Rose (Ashley Greene) as weak links in the circle of beliefs, it will soon scare newbies. It caused enough damage to cause the superior mother (Patricia Heaton) to insist on transferring Emma to the institution's basement. Yet, no matter where its permanent residents go, regardless of the hardened guests secured, these church servants feel a ridiculous, evil entity running.

You've never seen it before: furniture moves alone, lights flash and go out. Emma's abused corpse shows evidence of cruel internal war, and the demon also causes serious harm to others who are too close to the stupid. The foul knows what shouldn't be for our protagonist, and manipulates them by imitating the voices of dead loved ones. Through all this, the old monk in Pacino is still stoic-he has obviously experienced such a person before. (The real Riesinger has indeed tried once in 1912 in Wisconsin.

You might expect the 85-year-old Pacino to chew the landscape against this supernatural backdrop of Lurid. Instead, he wisely chose to play his own Bavarian Empire character, as one refuses to torture, endures eccentric, shocking phenomena, maintains gentle authority and humorous manners. Usually, Stevens is usually less guaranteed than usual, as if worried that he might fall into a real schlock.

He doesn't, but the "ritual" sometimes makes you wish he could have it. It's not much fun, even if it lacks engaging appeal to make a more impressive impression, as William Friedkin famously managed with The Exorcist 52 years ago. Cowen, who is "The Last Exorcist" Ashley Bell (the ribs of the movie, Patrick Fabian plays the Senior Pastor here), offers a pleasingly pitiful presence whenever she isn't a yelling, roaring special effect. But neither the suffering party nor its suffering demons are filled with personality by the scripts of Midell and Enrico Natale.

There are some creepy and terrifying moments, but the whole moment feels uninspired – the director doesn’t seem to be committed to the mechanics of horror, and the environment and characters don’t live a vivid life in a way that enhances the “ritual” stance, as it’s more of a weird but overlooked dicudrama. Once the end is over, we feel a strange feeling that we are still waiting for some cathartic orgasm.

The body modest produced by Mississippi-Shot is enough for story purpose, although you may want to get a more confident style from Adam Biddle's photography and other craft departments. The “ritual” is worth mentioning, not just another tacky exploitation of familiar subjects. But that doesn't redeem the fact that, ultimately, is a serious obstacle - an exorcist movie is more tamed than Bedeved.