The supernatural thriller The Rite is a different kind of literary adaptation a film not “based on” or even “inspired by” a written work but rather “suggested by” one. The degree to which this fictional film adheres factually to its source material Matt Baglio’s book The Rite: The Making of an American Exorcist is anybody’s guess. Fans of The Exorcist might argue that it’s more strongly “suggested by” William Friedkin’s 1973 horror classic than anything else.
Erstwhile unknown Colin O’Donoghue in his first feature role plays Michael a seminary student sent to Rome to learn the intricacies of demonic possession. A pronounced skeptic who isn’t even sure he believes in god much less the Catholic doctrine of exorcism Michael is inclined toward the more humanistic view of the “possessed” as simply disturbed or schizophrenic individuals. What they really need he insists is not a priest but a good psychiatrist. (That belief certainly won't endear him to the Church of Scientology.)
To rid him of such malignant pragmatism Michael’s headmaster (Ciaran Hinds) ships him off to serve an apprenticeship under Father Lucas (Anthony Hopkins) a Welsh Jesuit (shorthand for “eccentric”) and practicing exorcist. Having been around the theological block a few times Lucas reacts to Michael’s unbelief with wry nonchalance (a Hopkins specialty and the film’s most appealing trait); he knows that Satan’s arguments will prove far more convincing than any he might offer.
And Satan gets to work forthwith first using a pregnant Italian girl as his vessel then incorporating other representatives of the animal kingdom tormenting Michael with horned frogs and red-eyed demon mules. At first exhibiting admirable restraint director Mikael Hafstrom eventually employs just about every weapon in his terror arsenal bombarding Michael with harrowing visions and flashbacks (he grew up in a funeral home with an undertaker father played by Rutger Hauer who had a habit of bringing his work home with him) which offer ample opportunities for cheap scares. His trump card of course is Hopkins whose character eventually becomes possessed himself thus allowing The Rite to fulfill the Lucas/Lucifer conceit we all knew was coming.
The Rite varies wildly in tone with Hafstrom seemingly unable to decide if his film is to be a moody serious-minded psychological thriller or some campy outlandish horror-comedy. By the time Father Lucas becomes possessed and the reenactment of the first great celestial battle begins the film gives itself wholly over to the latter. As channeled by Hopkins the devil comes off as a less eloquent more vulgar version of Hannibal Lecter taunting Michael with naughty words and voraciously devouring scenery. The Dark Lord as a dirty old man is something of a novel concept I suppose. Scary? Maybe a little. Creepy? Oh hell yes.
With stories like this who even needs the “Inspired by true events” shield? Primeval tells of the world’s most prolific killer Gustave. You see Gustave is a crocodile and he remains at large to this day. His thirst for human blood goes unpublicized until he chows down on a white woman at which point an American newsman Tim Manfrey (Dominic Purcell) his cameraman Steven (Orlando Jones) and TV personality Aviva (Brooke Langton) head down to Burundi Africa where they hope to document the capture of Gustave. They’re joined by a wildlife preservationist of sorts (Gideon Emery)—a rare breed in a post-Steve Irwin world—who doesn’t want to harm Gustave. The deep jungles of Africa become a veritable obstacle course when the locals embroiled in a long-standing civil war and unwilling to have some damn Yankees televising their homeland stand in the crew’s way not to mention Gustave proving an evasive 20-foot-long um little bugger! The names might not ring a bell but you’ve seen these three stooges before--all on TV in fact. Purcell is currently enjoying about half the 15 minutes of fame of Wentworth Miller on Fox’s slipping Prison Break. Purcell plays Tim with steel and virility as he hides his Aussie accent for the most part but he’s still got a ways to go to reach Clive Owen’s caliber of acting--and more importantly Owen’s caliber of roles. Langton of The Net (the TV show adapted from the Sandra Bullock movie of the same name) and Melrose Place fame shows off the beauty that will afford endless opportunities to prove herself as a “real” actress—which is ironically similar to her character’s plight—but will never get there with roles in movies like Primeval. And Jones still best known for and plagued by his 7-Up commercials is in true negligible-sidekick mode here--worthy of a snicker approximately once out of every dozen times he tries overzealously to get one. Jaws may come to mind based on the water creature-stalking-man plot but well it’s tough to even mention those two in the same sentence. Director Michael Katleman a TV fixture himself at least doesn’t even aim high enough to reach that level. No from the get-go he’s shooting more for an Anacondas feel—and yes that’s the horrific sequel to the so-terrible-it’s-fun J.Lo “original.” Katleman almost reaches Anacondas-ian highs but not quite. Among other notable problems the director cannot for one moment strike the right balance between the aforementioned level of guilty pleasure-dom and genuine horror. Instead he catches us off guard with what are supposed to be the thrills—and also with the comedy. Finally once Gustave is revealed which should essentially be the moviegoers’ reward the croc looks more a prop sitting in a theme-park lot. And the script from John D. Brancato and Michael Ferris (Terminator 3 co-writers)—well let’s just hope with the story being uber-derivative and cheesy enough as it is Orlando Jones ad-libbed all of his unlaughable comedy!