Schizophrenic single parent Joel (Robert Kazinsky) begins to suspect that his young son Mason may be possessed. Unsure of what is real, and what isn’t, he enlists the help of disgraced Priest, Father Lambert (Peter Jason, Deadwood, They Live). As events unfold, it quickly becomes apparent that this won’t be a standard exorcism as something incredibly dangerous has attached itself to Mason and those around him.
Films dealing with exorcisms and possession have never really gone out of fashion within the horror genre, the most iconic is of course The Exorcist . Many films, such as The Assent seem happy to try and riff-off of what made that one so special, but most of them, including this one, fail to succeed in their mission. Recently though, there has been a smattering of films that have touched upon the topic in new and invigorating ways. The Cleansing Hour added a nice live stream, real-time, modern take on the idea, whereas Metamorphosis honed in on the paranoia and distrust that a demonic possession can muster. The Assent attempts the latter, with Joel questioning whether his mental illness is playing a part in what is happening. It skips any attempt at making the story modern however, and when combined with the ‘if it ain’t broke…’ formula of the possession films of yesteryear, it reveals itself as a less than appealing viewing. Not every film has to try and reinvent the wheel, but they do have to do something to stand apart, and The Assent ends up feeling rather dull and uninspiring. The Assent does try to add some narrative flair during the finale, but it’s a clichéd case of too little too late; the ending is rather anti-climatic. An attempt is made to shock the audience, but the conclusion is signposted so early that any hint of surprise is lost.
In terms of character development, there isn’t much. Kazinsky doesn’t get to do much beyond shout or look bewildered, and the rest of the cast don’t really feature that much. It’s a little odd that the film’s official synopsis pushes Father Lambert’s involvement so much, as his story is barely explored. Lambert has just been released from prison following a failed exorcism that resulted in the death of the eight year old, and yet Joel seems to have no problem letting him near his son. Lambert also doesn’t express any apparent apprehension about performing the ritual again, even when faced with a more evil adversary.
Visually, The Assent has some stylish ideas. For instance, there’s a nice mirror/rainbow shimmer that distorts the strange images that Joel is seeing. The house, in which the bulk of the story is set, is suitably dark and creepy looking. However technically sound certain components are, without a sturdy narrative to support them, the film falls down flat.
The Assent
Summary
A dull and uninspiring retread of the tired exorcism story.
