Auteur’s review published on Letterboxd:
The Last Exorcism is a terrific example of a found-footage horror film, and probably the best that can be hoped for in this post-Paranormal Activity, post-Blair Witch Project world where it has become increasingly difficult to mine the genre for originality. The Last Exorcism differs from the rest by acknowledging itself as a more traditional narrative film, while smartly using the characteristics of the genre to maximum effect, as if it is the only way to tell its tale. The Last Exorcism is a minor triumph in the way it finds a harmony between style and substance.
The story is simple enough. Small town pastor Cotton Marcus opens up to a documentary film crew about the fraudulent nature of exorcisms, and how he came to realize how men of faith just use them to extort money from unsuspecting believers. To prove it he decides to answer one of the many letters he receives each week asking for an exorcism, so the film crew can capture the entire experience and show the world what a sham it all is. I probably don't need to continue.
Right from the start, as the film shows Cotton in his ordinary world, followed by the call to action, it sets itself up as a traditional three-act story, whiling its time building dramatic expectations rather than just a series of slowly escalating scares. As the film progresses it begins to incorporate non-diegetic sound with the presence of a traditional score, and an obviously enhanced sound design. Many critics found fault with this, using its style to impeach its veracity; but in doing so they forgot that the footage shot was always intended to become a film. But even aside from that the entertainment value in having a well-produced soundtrack far outweighs whatever intrinsic value would have been afforded by defiantly lackluster production values.
Unlike other found footage films The Last Exorcism is actually about something, the lengths to which some people will allow religious influence into their lives for the better and worse, and the advantage taken by false prophets. The film even rewards repeat viewings, as introductory scenes that serve to turn the townspeople into a joke actually foreshadow the film's ballsy finale, a completely unexpected nod to one of the greatest horror films ever made. One of the scariest things about found-footage films done correctly is the acknowledgment that what is caught on camera is completely at the mercy of one of the characters. Storyboards get thrown right out the window, and The Last Exorcism is at its most frustratingly intense when it fails to capture its demonic antagonist as it darts through dark hallways - granted a roughly 120 degree field of vision, that leaves 240 degrees around the camera completely vulnerable, and the film exploits that as much as possible.
I don't know how much life is left in the found-footage genre. I keep saying that and then out comes another film that redefines it, along with a ton of other garbage films of course. But when it's done correctly the results can be exhilarating, and The Last Exorcism is that rare exception that manages to be both entertaining and artistically satisfying. Half the battle in film is all about finding the right way to tell a story. There is no better way to tell The Last Exorcism.
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