Exorcisms occupy a unique place in the horror genre: not altogether rooted in the facts of serial killer pursuits, but not as unbelievable as a creature feature. Countless classic films have been made in this vein, pressing upon a nagging thought that maybe, just maybe, demonic possession can happen — and has happened. So how then, can a movie about "the most thoroughly documented case of demonic possession in American history" be so damn boring?
In 1928 a Father Joseph Steiger of Earling, IA, was told that an exorcism would be done at a convent in his parish. A Capuchin priest from Bavaria, Father Theophilus Riesinger would be leading the exercise with the aid of Father Steiger and the Franciscan Sisters of the convent. Under the dark of an August night, a troubled young woman, Emma Schmidt, was transported to Earling.
Both Father Steiger and Father Riesinger gave their accounts of the days-long exorcism to third parties, which were published for public consumption, with Father Riesinger even appearing in a 1936 issue of TIME. Emma's identity was protected in those publications, being named Anna Ecklund in public accounts, and reported lived a "peaceful" life after the exorcism.
Interestingly, it was around the time of Emma's exorcism in America that the thought and treatment towards "the troubled" began to slowly shift from religious punishment to medical illness. David Midell's film depicting Emma's exorcism, The Ritual, hints at this, with the younger Father Steiger's (played by Dan Stevens) insisting that perhaps Emma's (Abigail Cowen) problems are psychiatric, citing new research papers he's recently read. However, Father Riesinger (Al Pacino, in an uncharacteristically reserved performance) dismisses this new age thinking — Emma needs to be restrained, and the survival of her soul depends on the pious strength of him, Father Steiger and the Sisters.
Midell shoots The Ritual with an over-active camera — not quite the shaky-cam footing of The Blair Witch Project, but for a film that largely takes place in the rooms of the convent, Midell attempts to make the lens a frantic participant. Unfortunately, this is about as exciting as it gets.
On paper, everything about The Ritual should work. It has great performances from the cast, including a rather stunning Ashley Greene as Sister Rose. The effects used to demonstrate Emma's possession offer some interesting visuals, and the crisp cracking of bones recalls those satisfying chiropractic neck adjustment reels on Instagram. The detailed source material not only provides a clear accounting for the film to put to screen, it also challenges non-believers and reinforces believers. Underlying all of these elements is the historical context of how society understands and treats those displaying mental maladies.
But The Ritual never feels like it ever truly takes off. Unlike Emma's contortions, Midell's film remains flat. We move through the motions of the exorcism rather than viscerally feel them, or even fear them. The emotional beats surrounding the recent death of Father Steiger's brother provides some dimension, but not enough to become fully formed. Possessed Emma's knowledge of those around her could have been a thrilling jumping off point to the secrets and despair of the members of the Earling clergy, but these become mere mentions.
The power of Christ may compel demons, but in this case, it fails to make for a compelling story.