Aaron Eckhart stars as a doctor able to enter the subconscious minds of possessed patients in this week’s Incarnate, a new take on the old exorcism story. And in this week’s 24 Frames gallery, we give our take on the best and worst exorcism horror movies by Tomatometer. Before we start, some règle de jeu: there are no comedies or non-horrors listed, and only movies with at least 20 reviews qualify. Got it? Good. God help us.
Critics Consensus: This harrowing, naturalistic drama holds you in its grip through Huller’s intense performance.
The Exorcist (1973, 86%)
Critics Consensus: The Exorcist rides its supernatural theme to magical effect, with remarkable special effects and an eerie atmosphere, resulting in one of the scariest films of all time.
The Conjuring (2013, 86%)
Critics Consensus: Well-crafted and gleefully creepy, The Conjuring ratchets up dread through a series of effective old-school scares.
The Conjuring 2 (2016, 80%)
Critics Consensus: The Conjuring 2 can’t help but lose a bit of its predecessor’s chilly sting through familiarity, but what remains is still a superior ghost story told with spine-tingling skill.
The Last Exorcism (2010, 72%)
Critics Consensus: It doesn’t fully deliver on the chilly promise of its Blair Witch-style premise, but The Last Exorcism offers a surprising number of clever thrills.
The Exorcist III (1990, 55%)
Critics Consensus: A talky, literary sequel with a few scary moments that rival anything from the original.
Constantine (2005, 46%)
Critics Consensus: Despite solid production values and an intriguing premise, Constantine lacks the focus of another spiritual shoot-em-up, The Matrix.
The Exorcism of Emily Rose (2005, 45%)
Critics Consensus: Mixes compelling courtroom drama with generally gore-free scares in a ho-hum take on demonic cinema.
The Possession (2012, 41%)
Critics Consensus: It may be based on a true story, but that doesn’t excuse the way The Possession repeatedly falls back on hoary ghost movie clichés — or the uninentional laughs it provides.
Dominion: Prequel to the Exorcist (2005, 30%)
Critics Consensus: While director Schrader’s attempt at a literate, internal exposition on evil temptations and human sin is admirable, this prequel suffers from hit-and-miss psychological tension, poor visual effects, and weak writing.
Deliver Us From Evil (2014, 28%)
Critics Consensus: Director Scott Derrickson continues to have a reliably firm grasp on creepy atmosphere, but Deliver Us from Evil‘s lack of original scares is reflected in its shopworn title.
The Amityville Horror (1979, 24%)
Critics Consensus: Dull and disappointing, the best that can be said for The Amityville Horror is that it set a low bar for its many sequels and remakes.
The Amityville Horror (2005, 23%)
Critics Consensus: A so-so remake of a so-so original.
Stigmata (1999, 21%)
Critics Consensus: The story is unconvincing and the acting is weak.
The Rite (2011, 20%)
Critics Consensus: Anthony Hopkins is as excellent as ever, but he’s no match for The Rite‘s dawdling pace and lack of chills — or Colin O’Donoghue’s tentative performance in the leading role.
Exorcist II: The Heretic (1977, 20%)
Critics Consensus: Hokey mystical effects, lousy plotting, and worse acting directly tarnishes the first’s chilling legacy.
The Vatican Tapes (2015, 19%)
Critics Consensus: A loud, rote exorcism thriller that presents nothing new to an already overpopulated subgenre.
The Haunting in Conneticut (2009, 16%)
Critics Consensus: Though it features a few scares and some creepy atmosphere, The Haunting in Connecticut ultimately relies too much on familiar horror cliches to achieve its goals.
The Last Exorcism Part II (2013, 16%)
Critics Consensus: The Last Exorcism Part II ditches the found footage format for relatively earnest but deadly tedious psychological terror that devolves into hokum anyways.
Exorcist: The Beginning (2004, 11%)
Critics Consensus: A mediocre, gory horror film, nowhere near the quality of the 1973 original.
The Unborn (2009, 10%)
Critics Consensus: A tame genre effort with cheap thrills and scares that border on silliness.
The Order (2003, 8%)
Critics Consensus: A religious thriller that’s more lethargic and silly than thrilling.
Lost Souls (2000, 7%)
Critics Consensus: Though visually stylish, Lost Souls is just another derivative entry in the Apocalypse genre, with lackluster direction, unengaging characters, and no scares.
The Devil Inside (2012, 6%)
Critics Consensus: A cheap, choppy unscary mess, featuring one of the worst endings in recent memory.
