User reviews

As a fan of the demonic possession sub-genre of horror, I'm always looking for films that diverge from the tropes initiated by The Exorcist, and unfortunately, not many of them do. All Western exorcism films follow the same basic outline; Catholic priest, demons, exorcism, almost always in that order. While this movie didn't break any new ground for the genre, it did some interesting things that really set it apart from the movies that refused to evolve, and for that it should be commended.

Right off the bat, you will find that the star of the movie isn't the actors or the score, it's the SFX. Practical effects make a HUGE difference in movies like this, and this movie not only has it in spades, but I was actually really surprised at how good most of it looked. The realism and attention to detail and the use of prosthetics instead of CGI, all culminated into some really effective on-screen action. I really became an instant fan of whoever is responsible, and I can't wait to seen how their work evolves moving forward. The direction of the film is also really interesting, with nods to some of the classics of the horror genre, and some wicked screen effects that were really apt for the genre.

The rest of the film is really more miss than hits, with the acting being serviceable but the story a muddled mess, the jumping around the timeline was confusing, and the overall pacing to be a bit disjointed. But stick around for the actual horror and demons and you might find it as enjoyable as I did. I wouldn't recommend the movie, per se, but if you don't have anything else to watch and are looking for something involving demons and the possessed, you could do so much worse than this film. (Not a shinning endorsement, I know, but I have to call I like I saws it).

Overall, I was truly impressed the work of the SFX y team, the nods to movies like Jacob's Ladder, and the style in which the film was directed. The rest of the movie needed some serious re-tooling in order to make for a more enjoyable experience. A sequel should rectify many of these issues, but they rarely ever do, so I'm not holding my breath.

A very respectable effort that just needed some fine tuning. Worth a watch solely for fans of the genre.

After a series of encounters, a troubled priest turns to an old friend for help looking into a series of bizarre occurrences the Church has an issue with that require his set of skills to accomplish, eventually bringing them into contact with a deadly demonic force they've never encountered before.

Overall, this was an intriguing if somewhat problematic genre effort. Among its better aspects is a rather strong and imposing setup that offers a chance to impart a somewhat different take on a traditional exorcism feature. The central setup involving the fateful incident that happened to the one priest where he's blacked out after an experience and wakes up later on with wounds from the experience, no recollection of anything, and only spotty memories of his past that he tries to piece together with his friend is a rather solid angle to take here. As the episodic nature of the story unfolding builds up to the discovery of his past involving exorcizing demons and other entities from problematic families that are crucial for the Church to keep an eye on as the film introduces two associates who follow him along on his journey, this type of setup works incredibly well for the most part. That allows the film to set its sights on the series of immensely fun and oftentimes outright chilling special effects used for the possessed throughout here. With the special effects also being practical achievements that showcase the usual series of limbs snapping, fingernails being reactive to a cross placed in their vicinity, teeth being yanked out when a protective mouth-gag is removed, barbed wire shown digging into the skin, or the series of scratch marks left across the body, this one is immensely gruesome and far bloodier than expected. As this also includes a series of demonic imagery or creature designs bringing about various grotesque beings there to torture and torment them in a slew of religious-themed iconography which helps to bring the setpieces to a gruesome close, this one manages to have some likable enough factors. There are some factors holding this one back. The main detriment here is the rather convoluted and unnecessarily complicated presentation of the story, making it almost impossible to tell what's going on. With the film structured in a nonlinear fashion and repeating scenes at a later point with more context or exaggerated action, the approach here makes little sense as things seem to happen for no reason only to get the added context later on. This also manages to make it hard to tell what's happening with the cyclical nature of the events playing out several times over not feel like anything is accomplished, much like an ending that's incredibly disappointing for it feels like it's the culmination of a single chapter in a larger story that doesn't seem so much concerned for how the whole thing will continue on which makes for a wholly bizarre feel. Coupled with odd editing choices that are introduced making for a jarring visual style that doesn't need it, these all hold the film down.

Rated Unrated/R: Extreme Graphic Violence and Graphic Language.

Currently there are two other reviews for DEUS IRAE, and both authors did excellent jobs summing this movie to its whole. My take will not be much different, but will encapsulate several aspects not discussed.

As a fan of religiously themed movies that illustrate themes of demonology, good vs evil, satanic iconography, devils, and a good old fashioned exorcism, DEUS IRAE was a breath of fresh air on one hand, and a completely discombobulated piece of storytelling on the other. The film is super engaging and is more of an experience than it is a viewing, but the viewer is forewarned that the beginning is somewhat slow & confusing so it's important to watch intently and not miss the dialog. It's a bit of a mind-warp and has the potential to upset the applecart held on to by those who like their faith to be something safe. In other words, if you're easily offended by anti-christian rhetoric and/or "evil" iconography, you might want to sit this one out. I mean, how many films have a main character who is both a priest & a heroin addict? There are likely multiple levels of blasphemy that DEUS IRAE crosses, and let me just say that I'M HERE FOR IT!!!

Who are the DEUS IRAE? We have our lead actor, Pablo Ragoni, as Father Javier, teetering between madness and acceptance as he learns more about the demonic underbelly of the city, and as he experiences the consequences of becoming a DEUS IRAE. Gastón Ricaud's Father Marcos is the leader of the group and the prime example of what serving as the DEUS IRAE is and what it does to a person. We briefly see Agustin Rittano as Father Garbriel during Javier's hallucinatory spell. When they return as the Confessor it is one of the centerpieces of the whole film, rife with imagery that remained stuck in my brain from my very first viewings. And I will fully admit that I sort of fell under Sabrina Macchi's spell in this one, with a look reminiscent of Tilda Swinton if I'm to be so bold. There is a scene where she, as Sister Helena, rolls a cigarette from a page torn out from The Bible and I did not have an issue with it. I should have, obviously, but darn if I didn't want to take up smoking right there and then. I might just find religion again because of her. Helena's commitment to the cause is intense.

On the production side, the artistry in DEUS IRAE is second to none with amazing iconography, creating images that linger in the brain long after. Cristiani said in an interview that, "... the purpose of the film was to use the powerful visual and mythological role that Christianity has in the Latin American imaginary, and slowly pervert it". Oh it does. It does! The best thing that can happen to DEUS IRAE is that the Church catches on to it, gets offended by what they see, then starts yapping about it.

The film earns top marks for production design and the visual effects are in camera as much as possible. Puppetry plays a key role in demon seed portrayal. Creature and makeup effects are fully practical. And I've got to tip my hat to Pablo Isola's original music and scoring which drives into your brain like a sonic hammer. As soon as I finished my first viewing, I immediately attempted to locate a vinyl copy of the original score but had no luck. To this day I have not been able to determine whether a vinyl release (or any format for that matter) was issued. Rest assured...I will continue looking, as the adaptation of familiar plain chant as well as other compositions from various centuries is utilized in a brilliant way.

As impressive as this all looks, I have reminded myself that it took me a trio of viewings to sort of catch on to what Cristiani wanted to say. Is that to its detriment? That's subjective. Random jumps back & forth in time and into dreamscapes presented a challenge when watching it, as non-linear storytelling can be difficult to follow when done with English dialog, let alone when the spoken language is not English and any context gained comes from reading subtitles. I believe that may be part of what leaves viewers behind as the narrative moves forward. The to and fro scenes and images, mixed with trying to keep up with the story via subtitles... maybe I'm just making excuses and I'm too dumb to follow what is going on here, but I would say that at least 50% of what I watch are foreign films that utilize subtitles (dubbing just sucks). The disorienting nature of the narrative reflects Javier's own inability to grasp what they are experiencing. I felt the nightmarish, sensorial descent that Cristiani was planning on when making their movie which is why I coined this an experience rather than a viewing, in my first paragraph.

In the same interview as noted above, Cristiani states:

"... we follow the descent of Father Javier from his own point of view (that is why we use a non-linear narrative), as he experiences the consequences of becoming a DEUS IRAE. He starts losing his grip with reality, with his identity and even with his own sanity."

Then there is the ending. All I can say to this is that it is clear that Cristiani has more he wants to say about the DEUS IRAE after this movie. It is how they ended this first movie that left us... Well, I was really enjoying the ride up to that point, is all I can say. BUT...as it stands, I was disappointed in the ending. I'll leave it at that.

I feel that if you have ever been involved in the Church, any of the liturgical or orthodox denominations, especially the Catholic church that a lot of what you will see in DEUS IRAE is going to trigger a deeper response in you above a casual viewer who thinks that everything looks effing cool. For me, with my relationship to a faith community most of my life (my grandfather was a Christian minister), that was very much the case. It takes religious horror to levels of high artistry and imagery before dealing out punishing blows of violence and horror, which as I said, I'M TOTALLY HERE FOR! Some of it is completely random and will not make sense, and for the moment, I just have to trust that if Cristiani can continue sharing his vision that this randomness will make sense down the line (ie a sequel).

And now for the million dollar questions...would I recommend the film? And if so, who is its audience?

I would definitely recommend the film but certainly not to everybody. In fact, I wouldn't even blanketly state that all horror fans should watch it, as it takes ahold of more of a niche group...horror fans who gravitate to religiously themed films, with exorcism as a secondary byproduct theme. It's not that people who are unfamiliar with Christian iconography wouldn't "get it," but it's more fair to say that horror fans who have a basic yet general awareness & familiarity with Christian fables and the meaning of said iconography will have a much easier time identifying with what Cristiani is trying to say. It's not enough (in my opinion) to say that anyone who enjoys AMAZING practical FX should watch this, as there is more to it than that.

Lastly, I'm not sure if all copies are the same as mine, but the subtitles do not match the dialog for most of the film. I have seen much worse, but throughout the film, the subtitles come about 1.5-2 seconds after the dialog, often displaying while another character speaks. This is REALLY challenging and likely contributes to why I have watched & re-watched the film several times. As noted, I can't say with certainty that all copies or the streaming version contain such a flaw but be aware of this, as it forces the viewer to pay extremely close attention or risk missing important dialog.

For those curious about content, here's how I would rate things:

• Contains smoking and drug use (heroin via injection) in multiple scenes. An important part of the story is Father Javier's addiction. It is not hidden in any way, shape, or form.

• No nudity or sexual situations that I recall.

• Very limited profanity, if any. I can't recall any specific uses of profanity but if cursing is used it was done extremely sparingly.

• Intense & frightening scenes is always such a subjective category for IMDB, but in this case it is fair to say that DEUS IRAE is chock full of intense & frightening scenes, or at the very minimum, the intent. This film is in no way meant for children, and is likely inappropriate for anyone under 16. That said, I can't think of how a 16 year old would have any clue what is going on due to its non-linear telling and complex religious iconography.

• Violence & Gore! This is what most folks will want to know and I'm happy to say that there is a fair about of both. And body horror...oohhhh the body horror! In fact, there is probably more gore than there is violence, which is rare. The practical fx are so well done that it's difficult to distance one's self from what is onscreen. Quite frankly the best way to describe the gore would be to imagine the sci-fi love child of David's Lynch and Cronenberg. Just wonderful & copious amounts of blood, viscera, and strange creatures permeate the film from the inside out, leaving the viewer to contemplate and/or to relate to the lovely displays of Cronenbergesque body horror.

Happy viewing!

Argentina has been coming HARD with their Horror movies these past few years. GOOD MANNERS, TERRIFIED, WHEN EVIL LURKS and, now, Pedro Cristiani's DEUS IRAE, a really bold, inventive and original entry in the Exorcism sub-genre about the most hardcore, down and dirty, hardcore group of exorcists you will ever meet.

There's a scene in THE EXORCIST where we see Father Karras and Father Merrin donning their vestments and preparing for the big showdown with the demon possessing Regan, and it's like they are a pair of Western gunslingers strapping on their six-guns. In this, our exorcists go into battle not like gunslingers, but like GANGSTERS. One of them slams heroin, keeping his "works" in a hollowed out crucifix. Another swigs gin from a holy water decanter. Another smokes joints using pages from the Holy Bible as rolling papers. I mean... daaaaamn.

Their hatred for Hell is so great that they are willing to potentially damn their own immortal souls just to get their hands on the demons... and they've found a way in which they can do just that, trapping them in the physical realm so that they can eliminate their very existence. But at what price?

The whole thing is just beautifully shot and the people who made this take a nothing budget and stretch it to such a degree that the film is a marvel to look at. The practical effects are incredible and often genuinely disturbing. The production design creates this eerie, dirty, grimy world that any fiend from the pit would find inviting. When our heroes enter a room to do battle against the demons, the very air seems thick with evil and corruption.

And then the film does something else that is really inventive: it combines the Catholic world of the Exorcism film with LOVECRAFT. This is a really ballsy, audacious move because the worlds of the Catholic Exorcism Movie and the Cthulhu Mythos are so diametrically opposed: one is monotheistic while the other is completely atheistic: there is no God in Lovecraft. No angels, no demons, none of that - it's a universe that is completely indifferent to us, but then there are these god-like malevolent beings hidden behind a veil and we are but specks of dust to them. And that Godless nature of Lovecraft's universe is one of the things that makes it so full of cosmic dread.

But what I really love about this film is that as hardcore and crazy as its central premise is, it grounds itself in the human and emotional. We get to see the vulnerable side of these characters. We get to see their inner turmoil and guilt over what they're doing and how they're doing it. We get to see the very fragile human beings who are beneath that hard-as-nails exterior.

And none of this would have worked so well without such a solid cast. I've never seen any of these actors before and they are all absolutely on point. Of particular note is Sabrina Macchi, who gives a strong and yet very emotionally vulnerable performance as the one woman in the group.

No one is talking about this movie, probably because no one can see this movie! It's currently streaming on Screambox and there is no other way to see it that I'm aware of. So keep this one on your To Watch list, because I think it's quite special and I cannot wait to see what the creators of this do next. Mark my words, this director is one to watch.

This movie plays with structure quite a bit, feed us information by showing us scenes out of sequence, which can be a little confusing and disorienting your first time going in. Also be aware that this is intended to be the first in a series, so expect a somewhat open ending. But if you just surrender and roll with it, I think you'll find it a very rewarding experience.

I only hope this film gets the attention it deserves and that we get that sequel soon!