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Rather, it slides, subtly, into a scenario.īefore Angela’s father and boyfriend seek an exorcism for her, she becomes connected with a string of bizarre deaths. In that sense, evil does not have God-like power, or anything close to it. Perhaps, then, one must be at her most fragile, must sit at the border between life and death, for evil to take over and do its deeds. It is as if the demonic force needed Angela to be nearly dead to fully enter her and gain control of her.
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Significantly, the film leads us to believe that a demon at least partially possessed her before her coma, by causing the car crash that put her in a coma she unexpectedly turns a car wheel while a taxi driver is driving her, her father, and her boyfriend around town. Though the hospital unhooks Angela from the machines keeping her alive, she miraculously wakes up, but her personality changes, vacillating between anxious and helpless (which could be the demonic in disguise) and uncomfortably sinister (which is, we are sure, a demonic force).
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He simply flaps his wings spastically in a way that could be formidable if the movie had a more sinister tone).Īfter a serious car crash, Angela ends up in a coma for (predictably) 40 days before her father reluctantly agrees to take her off life support. (In case you’re wondering, the raven does not say “Nevermore” like Poe’s raven or “Eat my shorts,” like the mysterious Bart-bird amalgam in the Simpson’s classic Treehouse of Horror episode. When she awakes, strange occurrences begin, including a slight change in her personality and a raven – Satan’s messenger, according to horror lore and the movie script– who follows her around. Read my discussion below (which, admittedly, has some spoilers) to find out why.Īngela (Olivia Dudley) cuts herself while slicing a piece of cake during her birthday party and ends up in the hospital with stitches and a medication that causes her to pass out early in the film. But, there was a small, hopeful part of me thought I might feel afraid during The Vatican Tapes. If you like exorcism movies, it may be worth seeing, at least for comparative purposes. The Vatican Tapes, a fairly average film, was no exception to this trend. Don’t get me wrong: conceptually, the devil is terrifying (to the extent that I believe he exists, at least), but films rarely do justice to the horror of the demonic. I find them interesting, and essential from the standpoint of someone who makes it a (humble, wage-less) second-living to know and review horror fare (albeit for a small number of readers), but for some reason I’ve always found ghosts a lot scarier.
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Assuredly, I was not old enough to watch the movie without being flung into a shock-provoked state of uncomfortable laughing fits (a twelve year old is hardly mature enough to take those scenes seriously), but something about that reaction seems significant when I reflect upon exorcism films almost 20 years later: Namely, the film was shocking, unorthodox, compelling – and indisputably ground-breaking for the era – but The Exorcist, along with, I think, every other exorcism film I’ve ever watched, has never really scared me. Huddled with a group of giggling 12-year-olds when I was in seventh grade, I watched in near-disbelief while Regan spewed unthinkable profanity and did immodest things with a crucifix in The Exorcist. I have a self-imposed challenge as an avid horror viewer: I must find an exorcism movie that truly terrifies me. Kalie Zamierowski on Dalek and Us: Grey Areas, Othe…
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