Too Much Reverence, Not Enough Story

Read Time:5 Minute, 2 Second

MOVIE REVIEW
The Ritual
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Genre: Drama, Horror, Thriller
Year Released: 2025
Runtime: 1h 38m
Director(s): David Midell
Writer(s): David Midell
Cast: Al Pacino, Dan Stevens, Ashley Greene, Abigail Cowen, Maria Camila Giraldo, Meadow Williams, Patrick Fabian, Patricia Heaton
Where to Watch: in theaters nationwide June 6, 2025

RAVING REVIEW: What happens when a horror story chooses tradition over thrills and contemplation over chaos? You get a film that aims to honor its real-life source material but occasionally forgets to draw the audience in. THE RITUAL is anchored in one of American history's most documented exorcism cases, opting for a grounded tone over genre theatrics. Rather than chasing supernatural spectacle, it leans heavily on restraint and solemn storytelling. That direction is deliberate, but it often lands between bold and muted, offering a take that struggles to maintain energy.

This isn't the kind of horror that tries to startle or disorient you with chaos. It deliberately removes the expected ingredients in favor of quiet reflection. It’s a creative risk that struggles to maintain narrative momentum. Without a steady build or payoff, the film’s atmosphere leans more toward stillness than suspense. It respects the material, but that respect occasionally makes it feel more like a dramatized transcript than a cinematic experience.

Anchoring the story is a performance by Abigail Cowen, who portrays the woman at the center of the exorcism. Her portrayal is understated, largely focused on exhaustion and internalized pain. There’s an emotional weight to what she brings, especially in scenes highlighting how drained and isolated her character becomes. The issue, though, is that her story feels observed more than experienced. The camera captures her, but the script keeps us at a distance. Her suffering never quite evolves or deepens across the runtime, and that lack of emotional progression weakens the connection with the audience.

Opposite her are two priests played by Al Pacino and Dan Stevens, who could’ve brought persuasive layers to the struggle. Stevens plays a man of faith wrestling with personal loss, while Pacino’s character is introduced as a veteran of spiritual battles, theoretically capable of grounding the escalating conflict. Unfortunately, neither character is given enough room to evolve. Their internal arcs are hinted at but rarely explored, and both performances, while competent, feel hemmed in by dialogue and direction that prefer solemnity over revelation.

The film’s tone is reflective, and its visuals help to reinforce that. Natural lighting and confined interiors dominate the screen, contributing to a sense of spiritual claustrophobia. Much of the film takes place within a convent, and while that choice reinforces the isolation felt by the characters, it also limits variety. Handheld camera work adds a documentary texture, but it’s overused to the point of distraction in scenes that would benefit from stability. The style has a clear intention, but it doesn’t do enough to evolve or adjust based on the story's emotional beats.

Where the film tries to be most interesting is in its restraint. Rather than using possession as a cheap thrill, it frames it as a source of quiet dread. There’s almost a clinical quality to how the rituals are depicted. But while the refusal to sensationalize is admirable, the lack of escalation dulls the impact. Instead of drawing the audience deeper into a growing crisis, the story seems to hit repeat, cycling through the same motions without amplifying tension or consequence.

One bright spot is the inclusion of Sister Camila, a supporting character whose strength and compassion add a much-needed perspective to a narrative otherwise focused on its male leads. She represents an often-overlooked voice in religious storytelling, and her presence suggests a broader understanding of how different communities approach spiritual resilience. While she doesn’t have a large role, her moments feel meaningful and speak to the film’s attention to cultural representation.

Still, the intentions are clear. This isn’t horror made to shock—it’s horror made to contemplate. There’s value in that, especially when so many similar stories lean heavily into exaggeration. The problem is that the thoughtful approach can stagnate without enough momentum. Although the larger issue may be the sub-genre itself, exorcism movies have become a dime a dozen, flooding the horror landscape. The film has to do something genuinely amazing to stand out.

This film has strong foundational ideas and careful execution, but rarely invites the viewer to feel. The historical roots, cultural considerations, and spiritual framing give it potential, but the storytelling choices keep it emotionally reserved. This might offer something worthwhile for those interested in a horror project that takes its source seriously. But for those seeking immersion or transformation, it may feel like standing outside a story that never quite lets you in.

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