The Last Exorcism: Cinefantasique Podcast 1:29


In the mood for an exorcism? Then join Dan Persons, Lawrence French, and Steve Biodrowski as they scourge the unclean spirits of THE LAST EXORCISM, casting out the plot spoilers and narrative inconsistencies that bedevil the tortured soul of the new faux-documentary from producer Eli Roth and director Daniel Stamm.
Also in this episode, a look at this week’s video releases, including the THRILLER 14-disc DVD box set and the new limited edition Blu-ray disc of THE EVIL DEAD. Plus, the usual round up of news, events, and more in episode 1:29 of the Cinefantastique Horror, Fantasy & Science Fiction Podcast.


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The Last Exorcism: horror film review

The Last Exorcism (2010) Is THE LAST EXORCISM this generation’s version of THE EXORCIST? No: , with its faux-documentary style, backwoods setting, and ambiguous attitude toward possession, the filmcomes across more like an unholy hybrid of THE BLAIR WITCH PROJECT and THE EXORCISM OF EMILY ROSE. By turns satirical and startling, THE LAST EXORCISM takes a low-key approach that emphasizes believability that yields impressively eerie dividends as it follows a minister who who sets out to debunk the practice of exorcism by allowing a documentary crew to film him at work. This laudable attempt at creating serious horror is guaranteed to make viewers sit up and scream – this is definitely not a roller-coaster joyride slasher flick. Unfortunately, THE LAST EXORCISM loses its way in the second half, particularly with an unsatisfying ending that undermines much of what has come before.
Imitation documentaries should have worn out their welcome by now, but at least initially, THE LAST EXORCISM makes good use of the form, allowing Cotton Marcus (Patrick Fabian) to fill us in on his background as a child preacher who grew up to become a minister an exorcist. Since reading about an exorcism gone wrong (in which the possessed subject was accidentally killed), Marcus has had a change of heart if not a complete crisis of faith: although he rationalizes his past exorcisms (by saying they removed the “thought” of possession from the victim), he feels he can prevent future deaths by exposing exorcism as a fraud.
It’s a good set-up. Marcus is an ambiguous character, but he seems (initially) to be sincere in his attempt to make amends for his past, and we can’t really blame him for what he used to do (he was raised to be a preacher by his father and never stopped to question that upbringing). However, his attempt to debunk exorcism on camera takes a weird turn: instead of exposing some other fraud, Marcus commits fraud himself. Whatever his avowed motives, he allows himself to be documented as he bilks a gullible farmer whose daughter Nell (Ashley Bell) appears to be possessed.

Cotton Marcus (Patrick Fabian) attempts to exorcise Nell (Ashley Bell)
Cotton Marcus (Patrick Fabian) attempts to exorcise Nell (Ashley Bell)

Perhaps this is the filmmakers’ way of maintaining Marcus’s ambiguity, but the film itself seems to overlook the problem: the on-screen documentarians are unconcerned with the criminality they are witnessing, and Marcus himself has no concerns that the film they are shooting might ever be used in court against him. These early scenes are marred by a slightly self-satisfied air: as we in the audience are invited to laugh at Marcus’s deception, THE LAST EXORCISM borders on condescension, even outright contempt, toward its rural characters, who are being played as rubes.

HORROR SHOW

Unfortunately for Marcus and his crew, the case he chose proves to be more difficult – and dangerous – than imagined. Nell continues to exhibit signs of possession after Marcus completes his exorcism, and her father Louis (Louis Herthum) would prefer to kill her rather than leave her possessed by a demon. Caught between a rock and a hard place, Marcus has no choice but to continue with the exorcism, even though he is convinced that Nell would be better served by a doctor.
Here, THE LAST EXORCISM ratchets up the tension in an effectively edgy way. Marcus goes from being a confident con man, in charge of the situation, to being in totally over his head. There is a certain satisfying thematic irony in seeing someone perpetrate a hoax and then find himself hoist on what he thought was his own bogus petard: it’s almost as if rural American were getting its revenge on the sharp city slicker. Needless to say, THE LAST EXORCISM is not the kind of film in which we can expect the character to learn his lesson and redeem himself; in the manner of E.C. Comics and Robert Bloch (e.g., “The Grim Reaper” episode of THRILLER), he is more likely to pay the price for his perfidy. It’s a “no win” situation, as one of the documentary crew says, and the audience fears the consequences will be tragic at least, and possibly lethal as well.

Ashley Bell as Nell
Ashley Bell as Nell

At this point, the early satire goes out the window as THE LAST EXORCISM morphs from a pseudo-documentary into an all-out horror show. The conventional camera style adjusts to include spooky angles and shadowy lighting, while ominous music arrives on the soundtrack. Although there is an unnecessary moment of gore (a real cat would be too quick to be bludgeoned by a camera in this way), thankfully, most of the manifestations of possession are kept low-key and believable; as in THE EXORCISM OF EMILY ROSE, most of the horror comes from seeing the possessed girl contort herself in horribly painful ways, leaving the question of whether the case is “authentic” open to question. ( For example, the eerie poster image of the girl pinned to the ceiling does not appear in the film, unless you count a shot of Ashley sitting atop a hutch).
The stylistic shift is actually a welcome touch: like an earlier montage (which intercuts Marcus perpetrating fraud with shots of him explaining the magician style tricks he uses), the use of manipulative music and editing suggest that, unlike THE BLAIR WITCH PROJECT and PARANORMAL ACTIVITY, we are watching not raw footage but a finished documentary. However, unlike DIARY OF THE DEAD (in which how the documentary came to be complete is actually part of the story) THE LAST EXORCISM is cheating – something that will not be apparent until the misguided ending.
Ashley Bell as the possessed Nell
Ashley Bell as the possessed Nell

This last-minute misstep should not blind us to the film’s virtues, in particular its performances. In a convincing cast, the two leads stand out. Despite the quibbles one may have with Marcus, Fabian makes him engaging, and he perfectly manages to the character’s midpoint  shift from confidence to concern; you feel the level of sincerity that drives him to stick with the case even after his involvement should have been officially over. Bell also manages to pull off a convincing metamorphosis, from innocent to demonic, with the right shading to leave us guessing whether she is possessed or mentally ill. Even better, the occasional overt outbursts of violence are overshadowed by the subtle, quieter moments, like the sinister hint of a smile she flashes at the camera – and by extension at the faux-documentary’s cameraman, who has begun to fear that Nell intends to kill him.

THE IMPLICATIONS OF THE ENDING [SPIOLERS]

After building to a frenzy that seems to resolve itself into a rational explanation, THE LAST EXORCISM reaches one of those unsatisfying “conclusions” that is obviously just a set-up for a twist. Learning a new key fact, Marcus and crew head back to the farm one last time, where they encounter a satanic ceremony. At first the imagery has a creepy Nathaniel Hawthorne vibe, presenting a shadowy “alternate” reality that exists in the dark forest at night, conflicting with the character’s safe daylight assumptions. However, when Nell gives birth to a baby that is described as “not human” we realize that THE LAST EXORCISM has tripped into the realm of bad ’70s exploitation, abandoning credibility in favor of “it’s only a movie” schlockiness. Do we really need another film telling us that isolated communities are nothing but a front for nefarious cult activity?
As Marcus races towards the flames – which flare as if to suggest an actual demonic presence – THE LAST EXORCISM could have been on the verge of a powerfully dramatic conclusion that would have resolved its mysteries. Instead, it opts for the arbitrary “got you in the last scene” conclusion that raises more questions than it answers. This provides a jolt or two and even pays off on an earlier set-up (a drawing by Nell that foretold the outcome), but it undermines the earlier use of editing and music: the abrupt BLAIR WITCH-type coda leaves us wondering who was left alive to manipulate the film in post-production – a concern that does not seem to trouble THE LAST EXORCISM’s actual filmmakers.
It is unfortunate that THE LAST EXORCISM takes the generic way out in its final moments, which violate the integrity of the project. I am not a big fan of THE BLAIR WITCH PROJECT, but at least it stayed true to the conceit of a being a “found” film. THE LAST EXORCISM delivers an intriguing story with more than enough scares to satisfy cinematic thrill-seekers,  but if producer Eli Roth, director Daniel Stamm, and writers Huck Botko and Andrew Gurland had stuck to the rules they themselves established, their film could have been even better.

CONCLUSION

Whether or not it stays true to its faux-documentary conceit, THE LAST EXORCISM ultimately abandons its aspiration to be something more than just an effective genre film. Early on, Marcus states that if you believe in God, you must believe in the Devil, as if this were an incontrovertible theological truism. THE LAST EXORCISM is not particularly interested in exploring this idea – which is far from universally accepted in religious circles – nor does the film have much interesting to say about exorcism, possession, faith, or religion, which are used as a foundation for effective scare tacitcs. On this level, the film mostly delivers, but it lacks the resonance that made THE EXORCIST an enduring classic.
UPDATE: I have to admit that Boston.com’s Jesse Singal summed up THE LAST EXORCISM much more succinctly than I:

It’s like director Daniel Stamm and his crew realized they were treading awfully close to making a film with real depth and edge that horror audiences might hate, and they just couldn’t pull the trigger.

THE LAST EXORCISM (Lionsgate: August 27, 2010). Produced by Eli Roth. Directed by Daniel Stamm. Written by Huck Botko & Andrew Gurland. Cast: Patrick Fabian, Ashley Bell, Iris Bahr, Louis Herthum, Caleb Landry Jones, Tony Bentley, John Wright Jr., Shanna Marcus, Justin Shafer, Carol Sutton, Victoria Paternaude, John Wilmot, Becky Fly, Denise Lee, Logan Craig Reid. Shot under the title, COTTON.
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THE LAST EXORCISM – Eli Roth and Daniel Stamm Interview

Below is a written transcript of an exclusive Cinefantastique interview with Daniel Stamm and Eli Roth, the director and producer of the new film THE LAST EXORCISM. The Interview was featured on The Cinefantastique Podcast 1:28 and was conducted by CFQ’s own Dan Persons!
CFQ: “Let me start with you Daniel. One of the things I noticed in your bio was that at some point you hitchhiked across the United States with only your ID. From doing that, what did you bring from your experience there into this film?
DS: “That’s a tricky question. I think what that did to me was it gave me a good overview of how different the different states in the U.S. are and how the one thing that connects them all – all my experiences – were that they very spiritual. There were a lot of people talking about God, lot of people talking about Jesus, which is something I never encountered hitchhiking in Europe. You could go through all of Europe and no one would ever mention God, where as hitchhiking from the east coast to the west coast, God came up in almost every single conversation. People were terrified to take me with them because hitchhiking has a different feel over here than it does in Europe, so a lot of people would say, “You know I’m terrified right now, but God told me to take you with me” or “I couldn’t just let you stand by the side of the road”. So there is this kind of deeply ingrained spirituality that I saw in that journey, which I think is a lot of what THE LAST EXORCISM is talking about.
CFQ: “Eli – your name is on this, your reputation precedes you. The thing is this film is breaks rather noticeably from that reputation.Were you concerned with that ?”
ER: “No, it was actually exciting for me. I love gore and I love blood in movies but I really love all kinds of movies: I love PARANORMAL ACTIVITY, I love CLOVERFIELD, I love DISTRICT 9. Those were very different films and when I read the script for this – it was actually before any of those came out – I thought it was one of the best, scariest, smartest scripts I had ever read. Originally, the writers were going to direct it and the intention was never to make a gory film. I’ve made my name synonymous with blood and guts, which I’m very proud of but I also feel that people associate a different level of smarter horror with me. The fans know that if I’m going to get involved with a film that is PG-13 and is not a particularly gory film, there must be something very special about it.
I also love films that are at THE RING/THE GRUDGE end of the spectrum, anything that is well done and smart. Robert Wise’s THE HAUNTING is one of my all time favorite films and, even though I’ve never made that movie, I love those kinds of stories. I think it’s the kind of thing where, looking back over the course of my career, people will see different projects I have made and they all have one common theme but they’ll all have different levels of blood. I think as long as the fans know what they’re in for and aren’t expecting Hostel 3 and know that this is about possession not power tools, I think they’re going to love what Daniel has done. Daniel made a film that is so smart and so fun and really does a great job of slowly building the tension and really keeping the audience guessing the whole way through. It’s just as exciting for me to be apart of a film that I think is a great addition to the exorcism cannon of films as I was about HOSTEL.
CFQ: “In this particular film, Cotton Marcus [Patrick Fabian] relies on a lot of stage illusions. How much of that is reality, how much of that actually happens with these types of exorcisms, how much is invention?”
DS: “I think it’s hard to say because there are more exorcisms happening today than at anytime in history all over the world – in all religions – and I’m sure that every single one of them has a certain element of stage magic to them. I think that they function very differently in India than they do over here, so we kind of pulled from different sources. We never quoted one source and said, “This is what our research shows is being done” but its just different ideas and some are made up of ideas of what you could do if you were in that situation.
CFQ: “This film walks a real line as far as whether there is a supernatural element to it or not. How difficult was that to achieve? Were there any concerns about playing that line as carefully as you are?”
ER: “Well, that really came about in the writing and development in the screenplay. You want the audience to think one thing and just when they think they have it figured out, you add in a new layer that they never saw coming but something that makes sense; Not a twist for the sake of a twist but something that engages you further going, “Oh my god I didn’t see that” or “That’s weird!” And for me, what’s unique and fun about the film is in this documentary format that, at first it’s Cotton Marcus in control and he basically slowly loses control to Nell. Its really about the clash of Science and Religion, but in this it’s the Reverend that’s coming from the scientific point of view saying, “She’s Crazy” and it’s the father coming from the place of devout faith saying, “She said she was possessed”, “She IS possessed”, “The demon is still in here”, “Get it out!” So suddenly it’s not even about being possessed or not it’s about getting her to stop behaving that way or the father is going to shoot her. What I loved about the script – and what I think Daniel did so brilliantly – was playing it all very real but never answering the question; just really keeping the audience, leading them one direction and then another direction and that’s what Daniel did so brilliantly in the film.

CFQ: “I’m doing some writing for another website and in doing some preparation for that I watched a lot of exorcism films. It’s sort of amazing to see, in contrast to your film, how many of those other films are grounded in Catholicism, to the point where it comes as something of a shock that there is this Evangelical aspect to THE LAST EXORCISM. In reading the script, did that surprise you or was that an appealing factor for you?”

ER: “No, I think what makes it interesting is that a lot of people don’t know that there are exorcisms in every religion and our movie exists in a world where the characters have seen THE EXORCIST and they mention it, acknowledge it and talk about THE EXORCIST and reference it. But what we discovered in the development of the script in the writing and figuring out how scenes are going to be shot and discussing things with Daniel is that pretty much everything people think about exorcisms comes from THE EXORCIST. If you think about zombies: there were zombies before NIGHT OF THE LIVING DEAD, they were the kind of I WALKED WITH A ZOMBIE that was kind of voodoo based. And George Romero comes out with NIGHT OF THE LIVING DEAD and suddenly, they eat your flesh and if you’re bitten you turn and shoot them in the head. Every rule of zombies is literally is derived from Romero. And in that same way THE EXORCIST is such a cultural landmark that things people think of…everything about it comes from that film.
I think that – even these movies that are dealing with Catholicism – a lot of these films haven’t even bothered to do research beyond it or weren’t interested in doing research beyond it. Or maybe that was what the subject matter was – there are certainly fine films like THE EXORCISM OF EMILY ROSE – but I’m talking about more knock-off movies. We didn’t want this film to feel derivative, and Daniel was very specific about not making a specific denomination. We didn’t want to say that this is something that only happens to Catholics. We wanted to make it much broader so that you could really apply it to any religion.

Read the entire interview, and listen to the entire podcast (which also includes a lengthy discussion of PIRANHA 3D) by clicking here.

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Last Exorcism interview & Piranha 3D review: Cinefantastique Podcast 1:28

Piranha 3D logo

It’s a day of interviews and reviews at the Cinefantastique Horror, Fantasy & Science Fiction podcast. First, a chat with director Daniel Stamm and producer Eli Roth on their film THE LAST EXORCISM, opening on Friday, August27. Then an in-depth discussion of PIRANHA 3D, Alexandre Aja’s ultra-gory remake of the 1978 cult classic directed by Joe Dante. Plus the usual round-up of news, events, and home video releases.


Below is a written transcript of Dan Person’s  interview with Stamm and Roth, regarding THE LAST EXORCISM, heard in the podcast.
CFQ: “Let me start with you Daniel. One of the things I noticed in your bio was that at some point you hitchhiked across the United States with only your ID. From doing that, what did you bring from your experience there into this film?
DS: “That’s a tricky question. I think what that did to me was it gave me a good overview of how different the different states in the U.S. are and how the one thing that connects them all – all my experiences – were that they very spiritual. There were a lot of people talking about God, lot of people talking about Jesus, which is something I never encountered hitchhiking in Europe. You could go through all of Europe and no one would ever mention God, where as hitchhiking from the east coast to the west coast, God came up in almost every single conversation. People were terrified to take me with them because hitchhiking has a different feel over here than it does in Europe, so a lot of people would say, “You know I’m terrified right now, but God told me to take you with me” or “I couldn’t just let you stand by the side of the road”. So there is this kind of deeply ingrained spirituality that I saw in that journey, which I think is a lot of what THE LAST EXORCISM is talking about.
CFQ: “Eli – your name is on this, your reputation precedes you. The thing is this film is breaks rather noticeably from that reputation.Were you concerned with that ?”
ER: “No, it was actually exciting for me. I love gore and I love blood in movies but I really love all kinds of movies: I love PARANORMAL ACTIVITY, I love CLOVERFIELD, I love DISTRICT 9. Those were very different films and when I read the script for this – it was actually before any of those came out – I thought it was one of the best, scariest, smartest scripts I had ever read. Originally, the writers were going to direct it and the intention was never to make a gory film. I’ve made my name synonymous with blood and guts, which I’m very proud of but I also feel that people associate a different level of smarter horror with me. The fans know that if I’m going to get involved with a film that is PG-13 and is not a particularly gory film, there must be something very special about it.
I also love films that are at THE RING/THE GRUDGE end of the spectrum, anything that is well done and smart. Robert Wise’s THE HAUNTING is one of my all time favorite films and, even though I’ve never made that movie, I love those kinds of stories. I think it’s the kind of thing where, looking back over the course of my career, people will see different projects I have made and they all have one common theme but they’ll all have different levels of blood. I think as long as the fans know what they’re in for and aren’t expecting Hostel 3 and know that this is about possession not power tools, I think they’re going to love what Daniel has done. Daniel made a film that is so smart and so fun and really does a great job of slowly building the tension and really keeping the audience guessing the whole way through. It’s just as exciting for me to be apart of a film that I think is a great addition to the exorcism cannon of films as I was about HOSTEL.
CFQ: “In this particular film, Cotton Marcus [Patrick Fabian] relies on a lot of stage illusions. How much of that is reality, how much of that actually happens with these types of exorcisms, how much is invention?”
DS: “I think it’s hard to say because there are more exorcisms happening today than at anytime in history all over the world – in all religions – and I’m sure that every single one of them has a certain element of stage magic to them. I think that they function very differently in India than they do over here, so we kind of pulled from different sources. We never quoted one source and said, “This is what our research shows is being done” but its just different ideas and some are made up of ideas of what you could do if you were in that situation.
CFQ: “This film walks a real line as far as whether there is a supernatural element to it or not. How difficult was that to achieve? Were there any concerns about playing that line as carefully as you are?”
ER: “Well, that really came about in the writing and development in the screenplay. You want the audience to think one thing and just when they think they have it figured out, you add in a new layer that they never saw coming but something that makes sense; Not a twist for the sake of a twist but something that engages you further going, “Oh my god I didn’t see that” or “That’s weird!” And for me, what’s unique and fun about the film is in this documentary format that, at first it’s Cotton Marcus in control and he basically slowly loses control to Nell. Its really about the clash of Science and Religion, but in this it’s the Reverend that’s coming from the scientific point of view saying, “She’s Crazy” and it’s the father coming from the place of devout faith saying, “She said she was possessed”, “She IS possessed”, “The demon is still in here”, “Get it out!” So suddenly it’s not even about being possessed or not it’s about getting her to stop behaving that way or the father is going to shoot her. What I loved about the script – and what I think Daniel did so brilliantly – was playing it all very real but never answering the question; just really keeping the audience, leading them one direction and then another direction and that’s what Daniel did so brilliantly in the film.
CFQ: “In terms of keeping it grounded in the reality, how much of this was shot on location?”
DANIEL STAMM: “All of it was shot on location.”
CFQ: “Where did you do this?”
DANIEL STAMM: “Close to New Orleans and the 9th ward that was flooded by Katrina. There was this old plantation that got flooded completely – 6 feet high…the watermark was still on the walls. And we shot all of that on the plantation. Even the shed and everything was all there.
CFQ: “How difficult was that?”
DANIEL STAMM: “Well it was difficult in that it wasn’t air conditioned and to shoot in New Orleans and Louisiana in June & July, it was exhausting for the actors. But it does something to them because they’re bathed in sweat the whole time and you kind of have the smell and the insects. It adds a level or realism that you couldn’t create, and I think that shows in the acting, that they’re kind of reacting to something that is there that they don’t have to pretend is there. They don‘t have to act.”
CFQ: “ How were the actors coping with this? Was there a lot of swearing ‘Next shoot – The Bahamas’?”
DANIEL STAMM: “There was some joking about ‘Where is my trailer?’, because we didn’t have trailers and it was important to me that the actors would form a sort of community and family. I didn’t want them to go off into their trailers and kind of separate and only get together for the scene. What I wanted was a kind of feeling that they know each other and have known each other for a while. So even with Cotton Marcus’ family, I had them spend 1 day together and play games together with the boy and the two parents so that when they actually appear together on screen you have the feeling that they have some back story, that there is more than just actors pretending to be a family. That was important.”
CFQ: “I’m doing some writing for another website and in doing some preparation for that I watched a lot of exorcism films. It’s sort of amazing to see, in contrast to your film, how many of those other films are grounded in Catholicism, to the point where it comes as something of a shock that there is this Evangelical aspect to THE LAST EXORCISM. In reading the script, did that surprise you or was that an appealing factor for you?”
ER: “No, I think what makes it interesting is that a lot of people don’t know that there are exorcisms in every religion and our movie exists in a world where the characters have seen THE EXORCIST and they mention it, acknowledge it and talk about THE EXORCIST and reference it. But what we discovered in the development of the script in the writing and figuring out how scenes are going to be shot and discussing things with Daniel is that pretty much everything people think about exorcisms comes from THE EXORCIST. If you think about zombies: there were zombies before NIGHT OF THE LIVING DEAD, they were the kind of I WALKED WITH A ZOMBIE that was kind of voodoo based. And George Romero comes out with NIGHT OF THE LIVING DEAD and suddenly, they eat your flesh and if you’re bitten you turn and shoot them in the head. Every rule of zombies is literally is derived from Romero. And in that same way THE EXORCIST is such a cultural landmark that things people think of…everything about it comes from that film.
I think that – even these movies that are dealing with Catholicism – a lot of these films haven’t even bothered to do research beyond it or weren’t interested in doing research beyond it. Or maybe that was what the subject matter was – there are certainly fine films like THE EXORCISM OF EMILY ROSE – but I’m talking about more knock-off movies. We didn’t want this film to feel derivative, and Daniel was very specific about not making a specific denomination. We didn’t want to say that this is something that only happens to Catholics. We wanted to make it much broader so that you could really apply it to any religion.


CFQ: “So Daniel, if you’re going to keep this ambiguous as far as denomination is concerned, how complex was that to do?”

DANIEL STAMM: “To keep it ambiguous? It was pretty simple because the man is a trickster anyway and he’s kind of making up his own stage show, as you were saying. It was more important when we showed him in the church with his congregation that we keep to the facts and we did a lot of research on it. But once he goes off by himself and delivers that show, I think he’s free to do whatever he wants.
CFQ: “How much did Patrick Fabian bring to the role?”
DANIEL STAMM: “Everything. I mean he IS Cotton Marcus. That was kind of important with this casting that there was a lot of freedom for the actors to create the character. A lot of the characters are called by their real names – the actor’s names – to kind of blur that line between the character and the actual person.
CFQ: “Thank you very much for talking with us.”
DANIEL STAMM: “Thank you.”
ELI ROTH: “Thank you!”

Transcript by R. Patrick Alberty

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The Last Exorcism — Poster

LastEX_logoSynopsis and Teaser Poster
“When he arrives on the rural Louisiana farm of Louis Sweetzer, the Reverend Cotton Marcus expects to perform just another routine ‘exorcism’ on a disturbed religious fanatic.  
An earnest fundamentalist, Sweetzer has contacted the charismatic preacher as a last resort, certain his teenage daughter Nell is possessed by a demon who must be exorcized before their terrifying ordeal ends in unimaginable tragedy.
Buckling under the weight of his conscience after years of parting
desperate believers with their money, Cotton and his crew plan to film a confessionary documentary of this, his last exorcism.  But upon arriving at the already blood drenched family farm, it is soon clear that nothing could have prepared him for the true evil he encounters there.
Now, too late to turn back, Reverend Marcus’ own beliefs are shaken to the core when he and his crew must find a way to save Nell—and themselves—before it is too late.”
THE LAST EXORCISM was written by Huck Botko & Andrew Gurland and directed by Daniel Stamm (A NECESSARY DEATH).
Strike Entertainment and STUDIOCANAL present an Arcade
Pictures production.
Due out from Lionsgate August 27th, 2010.

The Last Exorcism Teaser Poster
The Last Exorcism Teaser Poster

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