The Rite Reviews
January 29, 2011 by Post Team
The Rite Reviews, Rite it feels like you might be watching something good. Do not trust him. It’s just the demon inside of you to sleep in a false sense of security. The film starts slow and moody. It seems to be very careful construction of his world and to build suspense. We are introduced to a young funeral director named Michael Kovak (Colin O’Donoghue). Guy is not Kovak with high hopes and dreams, but he wants something more than paint the nails of the dead. So he enrolled in seminary school, given that just before he was sworn in as a commando holy, he can leave everything and get a free education of the transaction.
The first thing you notice about the movie you watch, it is the camera work. The compositions are always interesting. Peak point of view of the camera from the corners, behind fences. We get little montage sequences of still shots on stationary objects such as scene transitions and overall plans. Visually things feel thoroughly prepared. The camera moves when it needs to move, and he does it with skill, and it remains when it needs to linger, and always with the goal. If there is a hidden star of the film, it is perhaps filmmaker Ben Davis. But, unfortunately, the real star of the film is O’Donoghue, and he fails to shine so much.
Kovak is reserved, reluctant to believe in anything, and unclear about where he wants to go. O’Donoghue’s performance begins appropriately steel and restraint, but you feel he’s going to have to do later, as the character develops. Kovak plan leeches free education goes wonderfully until his resignation is not accepted, and a higher decides he wants to send the young student class exorcism at the Vatican rather than let him go. A melodramatic death scene with Kovak leaning on a young girl who got hit by a van helps motivate him agree. After installing the film played so many things about the jacket, this exaggerated cinematic moment I felt a little out of place, like a hiccup. But it has been proven to be a hint of things to come.
When we arrive in Rome, which began slowly starts to look a little. The picturesque town gives something photography can show and movie gains a pleasure trip. Even the interiors are used grand and beautiful, and they did a credible job of replacing the Vatican City. And once we meet Anthony Hopkins character we get some real life injected into the proceedings. His veteran exorcist, Father Lucas is a man who treats his work crazy so casually that his flippant eccentricity becomes. Hopkins is fun and playful in the role. It was all bright eyes and charisma, and it comes as a welcome addition after a first act of nothing, but faces Dour. Once he shows the film moves from the construction of mystery and fear of a horror movie full part in almost an instant. We’re going to Rome, in Hopkins, a young pregnant girl chained and writhing in no time. Unfortunately, it’s just at that moment that things should get exciting, as the ritual becomes a bore.
If there’s one good thing about the movie goes all crazy is that the ramps Hopkins’s performance right alongside it. Once all the action starts, it just goes completely to him, throwing her into the whirlwind of noise and act downright goofy. His recent work has focused on nothing else but fun quality. He is a veteran of the craft that has proved anything it wants and is more concerned about building a career. The highlights of this film could be mistaken as an audition reel for the lead role in The Mask. All it takes is a green head and he was at home. Hopkins balls to the wall is a silent film, we’ll at least have fun with it, the attitude was the best thing about The Wolfman recent years, and this is the best thing about this generic horror movie.
But boy does he leave Donoghue eat his dust. From the beginning of the movie you think Michael Kovak begins stoic and that later it will grow into something else. But when put to the test during the third act, Donoghue does not seem to be able to project a lot. If everything there is a black hole sucking energy when the end credits role you will not be able to describe Kovak any other way than being a protagonist in a film to become an exorcist. The film tries to be on his crisis of faith, but exposure around its crisis becomes so clumsy and reported that even in this way will not bare fruit. Donoghue and face is a blank. If you were asked to pick him up on a range of ten other guys you would not be able to do so. This is a booth in a model without visible soul or charisma whatsoever.
So what you end up with a banal movie stands out in its genre in any way. There is no shortage, but it fails to impress. Other than Anthony Hopkins in this movie any lack of balls: even the devil. For all the ballyhoo and bluster, the final battle does not mean anything biblical. Why are these demons always having the same M.O.? It can make swarms of animals appear. It can have anyone he wants. But he sticks to mention frogs. And he takes the trope to enough girls who have, and small children, and makes them hop and playing mind games. When it comes down to it, the worst things that these demons are never able to produce hurt feelings and strained muscles.
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