The Vatican Exorcist Film Sparks Debate Among Catholic Exorcists and Audiences
A controversy surrounds the horror feature The Vatican Exorcist, which stars Russell Crowe and has drawn sharp criticism from a compact group of Catholic exorcists. The International Society of Exorcists, a body consisting of about 250 priests who perform exorcisms, labeled the film an unreliable leap in its depiction of rites and beliefs. They described the movie as a subgenre work that prioritizes sensational violence and graphic imagery over accurate spiritual practice, a stance echoed by major media outlets including The Guardian in its coverage of the exchange between filmmakers and religious advisors.
Producers of the film contend that the story draws on authentic documents associated with a high-ranking Vatican exorcist, referred to in their materials as the Holy Father Gabriel Amort. The claim is that the plot incorporates actual records, suggesting a closer tie to real ecclesiastical history than is common in secular horror storytelling.
Gabriel Amort, an Italian priest, played a significant role in the development of modern exorcist networks. In 1991 he helped found the International Association of Exorcists and served as its president until 2000. His influence extended through its early years, and in 2016, two years after the association received formal recognition from the pope, Amort passed away at the age of 91. Before his death, Amort consented to grant film rights to Michael Patrick Kaczmarik for two memoir works, The Exorcist Tells His Story (1994) and The Exorcist: More Stories (2002). In subsequent accounts, Amort is described as having conducted a substantial number of exorcisms over the course of decades, reflecting the intense real-world practice that informs some of the film’s claimed sources.
The International Association of Exorcists issued a statement asserting that the movie’s Vatican conspiracy storyline casts doubt on the true nature of spiritual warfare, asking whether the central adversary is the devil or institutional authority. The group underscored that the film’s portrayal diverges from the Catholic Church’s official exorcism procedures and intentions, emphasizing a disconnect between depiction and doctrine. A spokesperson for the association indicated that a further statement would follow with the release of The Exorcist of the Vatican, noting that the film reached Indian theaters on April 7 and was slated for release in the United States on April 14. The discussion in this phase of the film’s release focuses on how closely the narrative aligns with canonical rites and the responsibilities of religious authorities in exorcism practice.
The film was directed by Julius Avery, a filmmaker known for a diverse portfolio that includes the crime thriller Young Blood, the war-horror Overlord, and the superhero title Samaritan featuring prominent actors. The director’s prior projects reveal a penchant for blending genres and exploring high-stakes conflict, which audiences in North America and beyond may find compelling as a source of tension and dread. Nevertheless, critics and religious commentators alike continue to scrutinize how the film balances entertainment value with sensitive spiritual themes.
Recent industry discussions have also touched on broader trends in horror that intersect with sacred topics. Outside observers point to ongoing debates about whether popular media should adapt historical or ritual elements for dramatization, or preserve strict distinctions between entertainment and religious instruction. In this climate, viewers in Canada and the United States have access to a range of perspectives, from cinematic analysis to theological critique, that help contextualize what the movie attempts to achieve and what it signals about contemporary perceptions of exorcism and church authority. The conversation thus extends beyond mere scares, inviting audiences to weigh what constitutes respectful representation against the appetite for provocative storytelling. Citations: Guardian coverage of the critique by the International Society of Exorcists, statements from the association, and promotional materials related to the film’s source claims.