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Incarnate poster

INCARNATE

2016 • US HMDB
December 1, 2016

An exorcist comes up against an evil from his past when he uses his skills to enter the mind of a nine year old boy.

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Crew

Production: Jason Blum (Producer)Jeannette Brill (Executive Producer)Trevor Engelson (Producer)Stuart Ford (Executive Producer)Matt Kaplan (Executive Producer)Charles Layton (Executive Producer)Michael J. Luisi (Executive Producer)Brad Peyton (Executive Producer)Couper Samuelson (Executive Producer)Michael Seitzman (Producer)
Screenplay: Ronnie Christensen (Screenplay)
Music: Andrew Lockington (Original Music Composer)
Cinematography: Dana Gonzales (Director of Photography)

REVIEWS (1)

Vincenzo de Divitiis •
Dr. Seth Ember is a scientist who performs exorcisms different from the traditional ones, that is, entering, thanks to the help of two collaborators and powerful cutting-edge technological means, the subconscious of the possessed to eradicate the demon from their inside. When the Vatican calls him to entrust him with the case of a boy possessed by a demon passed on from a vagrant, the protagonist finds himself facing the most important and difficult challenge of his life, not only from a professional point of view. Inside the body of the little Cameron, in fact, hides Maggie, an entity that years before had taken possession of the body of the woman who had caused the terrible car accident in which his wife and son lost their lives. Between a journey into other dimensions, harsh verbal confrontations with the demon and nightmares from the past that resurface forcefully, Ember will be involved in the eternal struggle between good and evil that will not only involve his personal sphere, but the whole world. New year, old habits. The 2017 of horror, in fact, began on the same lines as the previous years, that is, with a film branded BlumHouse, the well-known production company of Jason Blum which for more than a decade has launched on the market the most famous sagas to all fans of the genre ("Paranormal Activity" and "Insidious", just to mention the most famous examples). If the exorcism strand, or rather of demons that possess physical persons or dwellings, is the most popular by Jason Blum, the new year, as happened in 2016 with "The Vatican Tapes", could not but open with a similar product. This time it is the turn of "Incarnate – you cannot hide", a new film directed by Brad Peyton who, after the disaster movie "San Andreas", attempts the big leap into horror with a film with good intentions, but with a disappointing result. What comes out of it, in fact, is a predictable, foreseeable film that above all does not scare and does not create tension. Despite this, everything can be blamed on this "Incarnate" except the fact that it does not attempt to be innovative and refresh a strand that has now become repetitive and lacking in major narrative ideas. The main great innovation is given by the figure of the exorcist who here is no longer the usual middle-aged priest, but a scientist who does not use crosses to fight evil, but the ability to enter the subconscious of the possessed and powerful technological means that follow their developments step by step. A suggestive and surprising game of bouncing between parallel realities and different space-time dimensions is thus created, which become the battlefield of the struggle between good and evil. Once this innovative good is exhausted, however, Peyton’s film is really little. The idea of reincarnation, very interesting in itself, is not explored and introduced, thus leaving the viewer in a state of total ignorance of the subject that certainly does not help to understand the development of the story. Things get worse when the spotlight shifts excessively and disproportionately to the inner drama of Ember, which, on the one hand, offers the opportunity to delve into the psychology of the protagonist, on the other hand, makes the other characters, including the interesting figure of little Cameron, mere background elements. The cherry on top, finally, is the total absence of scenes of fear and real tension to which the director tries to remedy through the usual means aimed at tearing off some jump from the chair such as sound jumps, double and deep voices and sudden movements of the possessed. Very positive performances by a cast that has its excellences in Aaron Eckhart ("The Dark Knight" and "Sully") and young David Mazouz who is very credible and disturbing as a possessed boy. Main mention for Tomas Arana who fans of Italian horror will remember in "The Church" and "The Sect" by Michele Soavi. In conclusion, "Incarnate – you cannot hide" is the most classic of wasted opportunities and Peyton once again highlights the need to reach a definitive artistic maturity.
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COMMUNITY REVIEWS (2)

Reno

Reno

7 /10

Almost like any other horror film, but enjoyable.

From the director of 'San Andreas'. The film released after a couple of years delay. I don't know what's the reason, but surprisingly it was a much better film than I expected. It had a decent cast, particularly for a small budget horror, it was a well made film. Even the screen-writing was good. They should have improved it a bit, but still not a bad film with all the fine performances.

This is about a man who can enter the minds of the possessed ones by the evil spirits. Like most of the horror films, the exorcist has a person feud with one particular spirit. So after searching for it many years, he finds that a boy was possessed by the same spirit. Now it's his time to avenge whatever he had suffered from earlier in his life.

The horror film fans and film fanatics might think it is an average, but for the common people it will work fine. There are some good moments in the film. Overall, well designed film in those crucial parts. You are going to see totally a different Aaron Eckhart, especially being in the lead. So I feel it is worth a try.

6½/10

Filipe Manuel Neto

Filipe Manuel Neto

6 /10

A film good enough to watch once or twice, but not more.

The universe of horror films about demons, and demonic possession, now seems to be a little overloaded, and the lack of capacity for creative ideas, or those that justify yet another film, invariably leads to the emergence of some bizarre things. This is the case in this film, where Dr. Ember, a man who has psychic powers and can project outside the body, fights the devil directly, going to meet him and helping the soul of the person he is trying to deceive.

Don't get me wrong: the film has its merits and entertains its audience in a pretty decent way. As a horror film, and despite never scaring anyone, it achieves the necessary tension to work and is able to maintain it throughout the action. I just found it bizarre, but that's a matter of personal taste and not a defect. Let me develop: by placing at the center of the action a psychic who uses rational and scientific methods to combat Evil, I felt that the film tried to take a “scientific approach” to demonic possession and, perhaps, reach a wider audience, those skeptic who does not so easily believe in the effectiveness of religious rituals. I could be wrong, but that was the feeling I got.

After that, the script introduces more things and, then, there are more serious problems: did anyone really buy that whole story about Dr. Ember already knowing that demon and chasing him for years? A personal crusade? Seriously? And does anyone really believe that the Catholic Church is going to call in a scientist because they think their rituals won't work? The film ends with an attempted twist that we see coming from miles away.

On a technical level, the film doesn't really have much to present to us: most of the aspects that we usually appreciate are almost all within the standards of common popcorn cinema, which we watch without thinking much about and forget about five minutes after finishing. Cinematography, sets, costumes, editing, filming… everything is up to standards. There are no major errors nor any particular merit. The visual effects and CGI team is a different case: there are some well-achieved, albeit discreet, effects, especially towards the end.

The cast is one of the film's strong points: Aaron Eckhart did a decent job, but what he does is quite far from the best he's ever done in cinema. He is a solid, charismatic and competent protagonist, but he does not have material capable of imposing demands on him and forcing him to make additional efforts. Carice Van Houten (who became particularly famous after her work on the series “Game of Thrones”) is convincing as the anguished mother of the boy targeted for possession, but despite this, she is very underutilized. Catalina Moreno, who I met in “Maria Full of Grace”, at the beginning of her career, does interesting work and provides welcome support.

Reviews provided by TMDB