Scott Derrickson’s The Exorcism of Emily Rose took an unusual approach to the possession subgenre, merging courtroom drama with supernatural horror. Loosely based on real events, the story centres on the trial of Father Moore (Tom Wilkinson), accused of negligent homicide following the death of Emily Rose (Jennifer Carpenter) after an exorcism. Defense attorney Erin Bruner, played by the ever-reliable Laura Linney, takes on the controversial case, quickly discovering that the line between legal fact and supernatural possibility is more porous than she imagined.

Linney’s grounded, intelligent performance gives the film its emotional and dramatic spine, portraying Bruner as a pragmatic lawyer whose certainty erodes in the face of unexplainable events. Opposite her, Jennifer Carpenter delivers a startlingly physical and haunting turn as Emily — her possession scenes rely as much on contortion and raw emotional vulnerability as on special effects, resulting in moments that are difficult to shake.

For Derrickson, Emily Rose marked a turning point. It demonstrated his ability to balance human drama with genre tension, an instinct he would refine in Sinister (2012) and push into blockbuster territory with Doctor Strange (2016). His most recent horror outing, The Black Phone (2021), saw him return to smaller-scale supernatural terror, blending coming-of-age suspense with eerie menace — a film that not only reaffirmed his horror credentials but also earned a loyal following. With a sequel to The Black Phone on the horizon, Derrickson’s ongoing trajectory suggests a director who remains committed to keeping one foot in the realm of genre thrills while continuing to evolve as a storyteller.

The Prognosis:

Not all of Emily Rose lands seamlessly — the tonal shifts between legal procedural and possession horror can be jarring, and the pacing occasionally stalls. Yet its ambition, anchored by two strong performances and an early showcase of Derrickson’s genre-bending skill, makes it a memorable entry in 2000s horror. While it may not deliver unrelenting terror, it offers a gripping glimpse at a filmmaker whose best work was still ahead.

• Saul Muerte