Plot so thin, it passes unnoticed.

Good start, but then it gets ruined

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

One of the most extraordinary films you will see this year. Take that as you want.

In case you don't know the story with these movies, here it is: Morgan Creek films hired Paul Schrader to direct a prequel to The Exorcist, after director John Frankenheimer left the project, presumably due to health reasons. Schrader finished shooting, and presented a rough-cut to the studio. They hated it, and Schrader was fired shortly afterwords. Director Renny Harlin was brought on to make an entirely new film from a somewhat re-worked script, most of the same cast, and the same sets. His movie was released as Exorcist: The Beginning; it got terrible reviews, and was a box-office failure. After this, with some pressure from Schrader, and, I believe, an online petition, Morgan Creek gave Paul Schrader a minimal post-production budget to finish his film, and gave it a limited theatrical release as Dominion: Prequel to the Exorcist.It's an interesting position for me to be in with these movies, because I am a fan of both directors. Both of them have made some of my favorite movies - I love Paul Schrader's sexualized Cat People remake, and Renny Harlin's The Long Kiss Goodnight is a shining example of a great dumb, but not stupid action movie - and they both have areas in which they excel. Though, it would be difficult to find two more different film-makers. Both movies focus on Father Lankester Merrin (Stellan Skarsgård, Max von Sydow's character from the original film), who is going through a crisis of faith (much like Father Damien Karras in The Exorcist) after an incident in a Holland village during World War II, where an SS officer forced Merrin to choose which ten people would be killed for the murder of a German soldier. Merrin is on an archaeological dig in Africa, when he uncovers a thousand year old Christian church which, unbeknownst to Merrin, was deliberately buried to trap the spirit of the demon Pazuzu (the chief antagonist of the Exorcist series).Both movies show the strengths and weaknesses of their respective directors. Schrader capably handles the dramatic and story driven scenes, but his film never really inspires any sense of dread, his climax lacks any real tension, and because of the low budget, the CGI effects are some of the worst in a feature film since that Dungeons and Dragons movie with Jeremy Irons. Thankfully, the CGI shots aren't that abundant. Renny Harlin, however, does give his film a more frightening atmosphere, and there are some scenes - particularly one involving assorted lepidoptera - which make you squirm. But, Harlin's character scenes all descend into clichés and histrionics, and he has an annoying habit of shooting too much of his scenes in close-up, which detracts from the drama. Both movies also feature cinematography by the great Italian cameraman Vittorio Storaro (The Bird with the Crystal Plumage, Last Tango in Paris, Apocalypse Now) who's lighting you can literally almost feel on your body as look at it.All in all, even though it is a lesser horror movie than Exorcist: The Beginning, I have to give the edge to Dominion: Prequel to the Exorcist. Both movies feature more drama than horror, which should automatically give favor to Schrader. Also, Dominion is simply closer in tone and spirit to the original film, which is something that any prequel/sequel/remake should strive for. However, I do recommend watching both movies, preferably back-to-back, as the experience does give one a unique insight into how much impact a director has on a film.Final ratings: Exorcist: The Beginning - ** (out of four) Dominion: Prequel to the Exorcist - *** (out of four)

If you're a fan of the "Exorcist" story, this is a must see. As for the film itself, it was disappointing in some ways.The story fills you in on Father Merrin, the horrors he witnessed in Nazi Germany, and his previous battle(s) with evil. But director Paul Schrader meanders aimlessly through a story that could, and should have had a much larger impact. CGI was used in a few scenes that completely kill the credibility of the story.Some scenes were very well done, such as the inside of the "church". The style of filming as well as the cameras used did help a great deal to give the feel of a post world war 2 time frame.I'd love to see this part of the "Exorcist" story remade by a director with some passion for the story itself. It's VERY well written.

I have to wonder why such a talented writer as Paul Schrader, who has successfully scrutinized the psychologies of humans in his previous films and scripts, embarked on such a terrible journey with this story. To make a film takes up many years of one's life, so why waste it on such drivel? The money? Because you need a career kick start? Laziness?This film is mainly set in East Africa and follows the 'weird' events surrounding an archaeological dig. If you took White Mischief or even Hercule Poirot, as made for ITV, and added spooky content, with dire melodramatic music and paper thin characterization, then this would be Dominion. It is Death On The Nile with a god slant. Schrader seems lost in a story that cannot make up it's mind as to what to say. On one level, it is taking a very superficial look at colonialism in Africa and the effects of the missionaries on the indigenous population, then peppers it with a love story between the priest (Skarsgard) and a girl (Bellar) supposedly bound by the horrors of WW2, and then there is the atrocious portrayal of Africans as ignorant superstitious bush dwellers with their mouth piece being the English speaking Jomo (Aduramo) who acts as the 'black lackey' who can fill them in on what the "fuzzie wuzzies" are saying. Jesus H Christ! All set to TV drama music! It is the sort of film my great grandfather would have enjoyed, but i bet even he would have found it rather anodyne.The opening scene set ,supposedly, in Holland with a cliché German SS execution dilemma where Father Merrin has to choose as to who will die is the motor for the film;s horror. Does God exist? if so then he would not be so cruel... But his guilt is so ham fistedly explored, that there is no tension or even desire to revisit that dilemma. I would not even say that the film is nicely shot. Well exposed maybe, but there is no motivation behind the camera as to where it is placed, other than to push the plot forward mindlessly. Friedkin's camera was inquisitive, curious and scared. It knew what it was looking for, as did the script. As a film maker, one has the choice to choose the moments in time, and the place with which to view events, in order to involve an audience into one's own curiosity to a story. A great film tries to understand the fragility of being human. And we don't need bad CGI hyenas (or monkeys, Mr. Lucas - THX 1138 remastered) to put fear into our bones. The human fear is the fear of the unknown, the fear of our existence, and that is a very private and special fear that most filmmakers today are choosing to ignore. Travis Bickle could have told you that. One day a real rain will come, and wash films like this away....

I am not going to go into any detail other than what is needed to be said. Many have slated this for poorer special effects than were meant to be available at the time. Many people slate it for taking place in only a very few places. These would be fine complaints to a large budget film - but the studio was more interested in funding the Renny Harlin version of schlock horror "exorcist" than helping Paul Schrader to achieve his own superior idea here. Left largely out the dry, he did its best.A film must be rated against its circumstances. And for a low budget film that defied it's original studio to be made and come out such a well written and well acted piece, is enough to be forgiven for minimal sets and dated effects. If anything, the fact they pushed on and their dedication is clear in every shot, makes me appreciate their efforts even more.Not just a film about faith and good battling evil, but about faith and an independent director battling the studio. See it.