The Exorcism of Emily Rose

There is something very interesting about this movie. It is the rare kind of film that attempts to blend genre's with idea's in ways that one might not immediately think of, and while it may not be completely successful, I think it deserves more than a little merit for the attempt. Is it a courtroom film? Is it a horror film? Is it about psychosis? Is it about a demon possessed girl? One might argue that this is Inherit the Wind meets The Exorcist. Fortunately this is immensely superior to Stanley Kramer's simple-minded religious, courtroom drama, though not as good a William Friedkin's seminal horror film, though director Scott Derrickson is wise enough to avoid most of the post-Exorcist cliches and pratfalls that have become associated with this particular horror sub-genre. What sets this apart is its focus on ideas particularly those in regard to the existence of the supernatural. Poor Emily Rose was a young college student who started exhibiting strange behavior. Her doctor suggested a kind of mental illness and recommended medical treatment. However, she, her family, and her priest, played by Tom Wilkinson, come to believe that she is demon possessed and in need of an exorcism. But when she dies soon after the failed exorcism attempt, the priest is arrested for negligent homicide and taken to trial with her agnostic lawyer, played by Laura Linney. The courtroom battles over natural vs. supernatural, while the film flashes back to Emily and problem as seen from the various points of view of the witnesses. The film raises more questions, than answers, but that is certainly the point. Wilkinson is excellent as the priest, and Jennifer Carpenter will have you running for the nearest vat of holy water in her utterly convincing portrayal (without the aid of digital effect) of a possibly possessed girl. At moments, Tom Stern's cinematography will have horror fans cheering for the wonderful homage's to Dario Argento's Suspiria. Much has been made on the fact that this is loosely based on a true story, and the film benefits from the fact that it avoids the exploitation of the genre -- mostly. Derrickson has made the most thought provoking horror film since Danny Boyle's 28 Days Later, even if it does still have a few kinks left to work out.