An exorcism of cartoonish proportions is the focal point of Lee Daniels' completely inept, somewhat offensive horror movie The Deliverance.
There is a warped logic to Lee Daniels, filmmaker of nose-boppingly obvious melodramas and sordid stupidity, moving into horror. In an exorcism film, reason is often the only thing standing in the way of the haunted family getting some relief. But Daniels’ big, broad tone doesn’t lend itself to his ultra-serious tale of addiction, suffering children, cycles of abuse, and the compelling power of Christ.
Also discarded are the tangible realities of systemic poverty. Ebony’s family is always having wooden, on-the-nose conversations about being broke or fielding phone calls from debt collectors, but their home is spacious and well maintained . Shante gets the new iPhone she asks for, and Alberta continues to get her cancer treatments. Even CPS doesn’t ever seem like a real threat.
But long before that’s disproven by outrageously silly makeup and ugly effect work, we know that’s not true. The half-hearted efforts put towards seeding doubt about the extent to which the main character is beating her children is merely another distasteful flavor in this miserable meal. The gravity of child abuse contrasts, for example, with the ridiculous supporting characters that haphazardly pop up.
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