| Photos (see all 5 | slideshow) |
| Tue. July 7 | 4:00 AM | HBO |
| Stellan Skarsgård | ... | Father Lankester Merrin | |
| Gabriel Mann | ... | Father Francis | |
| Clara Bellar | ... | Rachel Lesno | |
| Billy Crawford | ... | Cheche | |
| Ralph Brown | ... | Sergeant Major | |
| Israel Aduramo | ... | Jomo | |
| Andrew French | ... | Chuma | |
| Antonie Kamerling | ... | Kessel | |
| Julian Wadham | ... | Major Granville | |
| Eddie Osei | ... | Emekwi | |
| Ilario Bisi-Pedro | ... | Sebituana | |
| Niall Refoy | ... | Corporal (Thief) | |
| Lorenzo Camporese | ... | Private (Thief) | |
| Burt Caesar | ... | Dr. Lamu | |
| Marcello Santoni | ... | Dutch Farmer | |
| Griet van Damme | ... | Teenage Dutch Girl | |
| Simon McLinden | ... | Corporal | |
| Pet Chege | ... | Sebituana's Wife | |
| Hamadi Mwapachu | ... | Convulsive Worker | |
| Evelyn Duah | ... | Mara | |
| Rick Warden | ... | Corporal Williams | |
| Michele Mariotti | ... | German Sergeant | |
| Ben Meyjes | ... | Soldier #2 | |
| Oliver Maltman | ... | Soldier #3 | |
| Omari Carter | ... | James | |
| Adrian Black | ... | Joseph | |
| Nick Komornicki | ... | Gun-Firing Soldier |
Directed by | |||
| Paul Schrader | |||
Writing credits | ||
| William Peter Blatty | (movie The Exorcist) | |
| William Wisher Jr. | (written by) (as William Wisher) and | |
| Caleb Carr | (written by) | |
Produced by | |||
| Guy McElwaine | .... | executive producer | |
| Wayne Morris | .... | co-producer | |
| David C. Robinson | .... | executive producer | |
| James G. Robinson | .... | producer | |
| Art Schaeffer | .... | co-producer | |
Original Music by | |||
| Angelo Badalamenti | |||
| Dog Fashion Disco | |||
| Trevor Rabin | |||
Cinematography by | |||
| Vittorio Storaro | |||
Film Editing by | |||
| Tim Silano | |||
| William Yeh | (uncredited) | ||
Casting by | |||
| Pam Dixon | |||
Production Design by | |||
| John Graysmark | |||
Art Direction by | |||
| Andy Nicholson | |||
| Stefano Maria Ortolani | (supervising art director) (as Stefano Ortolani) | ||
| Marco Trentini | |||
Set Decoration by | |||
| Elli Griff | |||
Costume Design by | |||
| Luke Reichle | |||
Makeup Department | |||
| Hayat Ouled Dahhou | .... | hair stylist (as Hayat Ouleddahhou) | |
| Barbara De Leonardis | .... | assistant hair stylist | |
| Elisabetta De Leonardis | .... | hair stylist | |
| Giancarlo De Leonardis | .... | hair designer | |
| Jake Garber | .... | prosthetics supervisor | |
| Raffaella Iorio | .... | makeup artist | |
| Christopher Allen Nelson | .... | makeup effects artist | |
| Gregory Nicotero | .... | special makeup effects designer (as Greg Nicotero) | |
| Scott Patton | .... | makeup designer | |
| Alessandra Sampaolo | .... | key makeup artist | |
| Fabrizio Sforza | .... | head makeup artist | |
| Scott Stoddard | .... | makeup effects artist | |
Art Department | |||
| Cristina Cecili | .... | painter | |
| Lisa Chugg | .... | assistant set decorator | |
| Jason Edward | .... | lead technical artist | |
| Mark Fruin | .... | assistant property master | |
| Tony Graysmark | .... | construction manager: Morocco | |
| Paul Herndon | .... | storyboard artist | |
| Glauco Isidori | .... | painter | |
| Sandra Jelmini | .... | art department coordinator | |
| Stuart Kearns | .... | assistant art director | |
| Michael King | .... | production buyer | |
| Bernadino Nardoni | .... | construction manager: Italy | |
| David Packard | .... | scenic artist | |
| Alessandra Querzola | .... | set decorator: Italy | |
| Rachid Quiat | .... | assistant art director | |
| Domenico Reordino | .... | scenic | |
| Saverio Sammali | .... | assistant art director | |
| Arthur Wicks | .... | property master | |
Sound Department | |||
| Joe Barnett | .... | sound re-recording mixer | |
| Susan Cahill | .... | assistant sound editor | |
| Andrea Eliseyan | .... | recordist | |
| Cormac Funge | .... | sound effects editor | |
| Nerses Gezalyan | .... | foley mixer | |
| Paul Longstaffe | .... | dialogue editor | |
| Michael C. Moore | .... | sound mixer | |
| James Moriana | .... | foley artist | |
| Mathew Waters | .... | sound re-recording mixer | |
| Mathew Waters | .... | supervising sound editor | |
| Jeffrey Wilhoit | .... | foley artist | |
Special Effects by | |||
| Danilo Bollettini | .... | special effects supervisor | |
| Massimo Cardajoli | .... | special effects senior technician (as Massimo Cardaiolo) | |
| Gregory Nicotero | .... | special makeup effects designer (as Greg Nicotero) | |
| Franco Simeone | .... | special effects senior technician | |
Visual Effects by | |||
| David Beedon | .... | digital effects artist: Morgan Creek | |
| Beverly Bernacki | .... | digital artist | |
| Massimo Cipollina | .... | computer graphics supervisor | |
| Adriano Cirulli | .... | assistant visual effects supervisor | |
| Primo De Santis | .... | digital effects artist | |
| Emanuele Di Bacco | .... | digital compositor | |
| Lucio Farina | .... | visual effects | |
| John F. Gross | .... | visual effects supervisor: Eden FX (as John Gross) | |
| Giulia Infurna | .... | digital compositor: Proxima | |
| Koji Kuramura | .... | digital artist: Eden FX | |
| Fabio Leporelli | .... | character shading lead | |
| Fabio Luongo | .... | digital compositor | |
| Tom Mahoney | .... | visual effects supervisor | |
| Michael D. Most | .... | on-set visual effects supervisor (as Michael Most) | |
| Stephen W. Pugh | .... | visual effects producer: Eden FX | |
| Corrado Rizzo | .... | visual effects | |
| Gian Luca Rizzo | .... | visual effects producer | |
| Eddie Robison | .... | digital artist: Eden FX | |
| Salvo Severino | .... | visual effects | |
| Nicola Sganga | .... | visual effects | |
| Giuseppe Squillaci | .... | pre-visualization: Proxima | |
| Fabrizio Storaro | .... | visual effects producer | |
| John Teska | .... | digital artist: Eden FX | |
| Fabio Zaveti | .... | digital compositor: Proxima | |
| Paolo Zeccara | .... | visual effects supervisor | |
Stunts | |||
| David Ambrosi | .... | stunt coordinator | |
| Massimiliano Bianchi | .... | stunt actor: blacksmith | |
Camera and Electrical Department | |||
| Sergio Ambrosi | .... | first grip | |
| Alfredo Betrò | .... | camera operator: "a" camera (as Alfredo Betró) | |
| Fabio Cafolla | .... | rigging gaffer | |
| Filippo Cafolla | .... | gaffer | |
| Alessandro Chiodo | .... | assistant camera | |
| Alessandro Chiodo | .... | camera loader: "b" camera | |
| Marco Diamanti | .... | key grip | |
| Piernicola Di Muro | .... | camera loader: "a" camera | |
| Marco Gentili | .... | focus puller: "b" camera | |
| Roberto Gentili | .... | focus puller: "a" camera | |
| Marco Martelli | .... | assistant camera | |
| Valentin Monge | .... | Steadicam operator | |
| Valentin Monge | .... | camera operator: "b" camera | |
| Willy Murgolo | .... | lightboard operator | |
| Sergio Strizzi | .... | still photographer | |
Casting Department | |||
| Carolyn McLeod | .... | additional casting: UK | |
| Rebecca Rian | .... | casting assistant | |
Costume and Wardrobe Department | |||
| Tim Aslam | .... | assistant costume supervisor | |
| Alma Barbieri | .... | head cutter | |
| Stefania Corsetti | .... | key wardrobe (as Stefania Angela Corsetti) | |
| Annalisa Schmid | .... | costume coordinator | |
| Giovanni Scotti | .... | wardrobe master | |
| Marco Scotti | .... | costume supervisor | |
Editorial Department | |||
| Andrew Drapkin | .... | color timer | |
| Andrew Drapkin | .... | colorist | |
| Jayme Wing | .... | on-line editor | |
| Dwight Raymond | .... | assistant editor (uncredited) | |
Music Department | |||
| Dog Fashion Disco | .... | composer: additional music | |
| Thomas S. Drescher | .... | music editor (as Thomas Drescher) | |
| Drew Lamond | .... | assistant score engineer | |
| Chase Lapp | .... | composer: additional music | |
| Philip Mann | .... | music programmer | |
| Philip Mann | .... | orchestrator | |
| Mike McAree | .... | music engineer | |
| Mike Oliver | .... | composer: additional music | |
| Jeff Siegel | .... | composer: additional music | |
| Todd Smith | .... | composer: additional music | |
| Jasan Stepp | .... | composer: additional music | |
| Steve Wright | .... | music engineer | |
Transportation Department | |||
| Edmondo Amati | .... | transportation coordinator: Italy | |
| Gerry Gore | .... | transportation coordinator: Morocco | |
Other crew | |||
| Youssef Abagourram | .... | location manager | |
| Mohamed Benhmamane | .... | location manager | |
| Paul Cadiou | .... | accountant | |
| Gianfranco De Rosa | .... | unit production supervisor | |
| Andy Fraser | .... | production executive | |
| Nick Komornicki | .... | armorer (as Nick Kormornicki) | |
| Khadja Koulla | .... | production coordinator | |
| Marc Manser | .... | assistant: Mr. Schrader | |
| Giusy Mercuri | .... | third accountant | |
| Mario Mercuri | .... | accountant | |
| Mario Mercuri | .... | accountant | |
| Sanaz Missaghian | .... | travel coordinator | |
| Leslie S. Stevens | .... | production coordinator | |
| Francesco Tató | .... | production assistant | |
| Kathryn Waters | .... | script supervisor | |
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| Exorcist: The Beginning | The Exorcist | The Omen | The Omen | The Reaping |
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Dominion is a genuinely interesting and ambitious film that doesn't quite make it despite being superior to Harlin's enjoyably unambitious schlocky remake. More a drama about faith than a horror film, it's not even remotely chilling and in the hands of the director of the awful Cat People remake it's attempts to throw in a few shocks (or "trying to make the cow look like a horse" as he puts it on his heavily vetted audio commentary) simply don't work any more than the crude dream imagery straight out of a 40s noir he's just not interested in that sort of thing. He's much better at more human acts of violence: the suicide scene is a vast improvement on the terrible version in Harlin's film without the unnecessary supernatural trappings, while a pair of apparently arbitrary murders are all the more jolting for their human origin and the rationale behind them. For all its failings, the film is far from unsalvageable, and the decision to junk it and completely reshoot it with a new script, director and, in many cases, supporting cast seems a major over-reaction.
It's also surprising just how little crossover there is between the two films not just the respective scripts and the themes, but how little footage was pressed into service on the remake (barely two minutes, most of it establishing shots and a brief deleted scene). It's also clear that the film is still uncompleted. The cgi is terrible and all too obviously unfinished and the score suffers from being performed on synths rather than by an orchestra, which gives it a demo/temp track effect that doesn't always help the film, but the biggest problem remains the direction. While co-writer Caleb Carr's complaints about Schrader having no visual sense are frankly bizarre it's by far his best looking movie and certainly his most cinematic he's unable to rack up much tension, particularly in the finale. Much of this seems to be due to his inability to inspire his cast: with much of the film played in long takes, many of the supporting players aren't up to the script and clearly aren't getting enough help (the wildly inadequate Clara Bellar suffering more than most in the role taken by Isabella Scorupco in the remake). While there isn't a performance as bad as Alan Ford's in the Harlin version, and a couple particularly Julian Wadham and a superb Ralph Brown are actually considerably better than the remake, the moral escalation of the very well-written prologue loses much of its power due to a flat performance from Antonie Kamerling's German officer. In Schrader's hands, it doesn't matter because we don't care because the performances don't convince us that it's real. Curiously, the sequence is much better handled in the Harlin version, where it's both better staged and more effectively utilised as a recurring flashback.
On the plus side, he has a much better sense of time and place than Harlin. Whereas the remake looked like a glossy modern studio picture, this does have an old National Geographic visual quality that makes it look like it was actually shot in post-war Africa. The British troops, so cartoonish second time round, are much more convincingly of their time here, adding a surprising note of authenticity.
The script is fairly intelligent and ambitious on the big themes but does drop the ball on the clumsily sketched relationship between Merrin and Rachel, with the audience having to take too much on faith with no real grounds: at times it feels like the actors are still waiting for another emotional scene to be written but are completely in the dark about its content. Similarly, it doesn't always deal with the issues it raises and, as with all the Exorcist follow-ups, it falls badly in the "we need an exorcism" finale. For once the film really does need to end with an exorcism, but when it strays outside the temple the shoddy cgi Northern Lights and Bellar's looney face just render the footage laughable. However, the substance of the Satanic threat is more interesting than conjuring tricks here, emphasising the great deceiver's nature as the father of lies, tempting not by offering future riches but by erasing the mistakes of the past that cause such torment.
The catalyst is once again a possessed youth, in this case a crippled albino outcast who finds himself being cured by the demon. Naturally, the young missionary immediately mistakes it for a miracle and the boy as proof of God's love, before painfully learning the error of his ways, leaving Stellan Skarsgard's disillusioned Father Merrin to exorcise the boy and confront his own more personal demons. Schrader makes less of the battleground an elaborate ancient church deliberately buried in Africa hundreds of years ago without ever making it enough of an intimate story to compensate. But when it works, it works well, and it constantly holds your interest. Not quite a failure, not quite a success but certainly worth digging up.
Even if you feel like giving up on it, make sure you watch the ending, where Schrader takes his obsession with The Searchers to new heights, lifting its final shot for a wonderfully outrageous homage as Skarsgard walks out of the door in a perfect imitation of Wayne's body motion to wander forever between the winds