Reviews provided by RottenTomatoes
If you didn't know that Jerry Bruckheimer produced this movie, the boot prints on your eardrums would've clued you in.
New York Post:
"Deliver Us From Evil'' expertly serves shivers, buckets of gore - and pretty much every cliche of the genre.
A pretty routine and occasionally silly demonic-possession flick, which distinguishes itself by making us wait so long for the exorcism that heads may be spinning in the audience as well.
Too silly to be scary, and a bit too dull to be a midnight-movie guilty pleasure.
Deliver Us From Evil doesn't even believe in its tropes, whose moldiness no veneer of "authenticity" can mask.
The movie is never boring. The atmosphere is decidedly unsettling and a viewer will jump a few times. Even the acting is fairly solid.
Though Derrickson offers some new twists on old tricks ... the story soon devolves into variations of many movies we have seen before.
Director Scott Derrickson demonstrates a knack for atmosphere but little sense of pacing; some sequences are effectively spooky (particularly one set at the Bronx Zoo), though just as many feel uninspired.
Derrickson made "The Exorcism of Emily Rose" nearly a decade ago, a rather better example of this genre.
"Evil" doesn't shy away from grisly images. But the scares don't last ...
Deliver devolves into a predictable, overlong waiting game. What's worse, it wants to convince you that it's a thoughtful meditation on faith ...
While the supernatural side of the film suffers a flaw or two ... its central conflict works.
Luckily for Derrickson, this devil hates light bulbs, causing Ralph to spend countless scenes wandering around in the dark waiting to be startled by a cat.
A surprisingly strong cast and solid direction make all the malarkey in this horror flick tolerable.
It's all cliched, of course, and has been since "The Exorcist" ... but it's still effective, perhaps more so with anyone who, like our hero cop, comes from the world of scented smoke and altar boys.
It's time for Derrickson, who also directed The Exorcism of Emily Rose, to master a new ritual.
New York Times:
Scott Derrickson, the director, and his special-effects crew really deliver the creepy goods here, providing an apt climax for as taut and credible a movie involving demonic possession as you're likely to see.
Like other entries of its pulpish ilk, the picture packs lots of violence, a fair bit of gore, and plenty of cheap scares.
Director Scott Derrickson and his co-writer, Paul Harris Boardman, deliver a routine procedural with unremarkable frights.
Globe and Mail:
If this movie doesn't leave you howling at the very idea of demonic possession, you're in dire need of an exorcist.
An impressively staged climactic exorcism compensates in part for the random, far-fetched storytelling that precedes it.
Even horror neophytes won't be spooked by a film that looks as if it were shot with a smartphone and an Itty Bitty Booklight.
New York Magazine/Vulture:
After a while, the film's grim, desolate settings come off not so much as a landscape of moral squalor (as in Se7en), but as a tedious attempt to add gravity to a thoroughly generic horror tale.
The film is said to be based on the case files of a real-life cop-turned-demonologist. Instead, it seems to have been inspired by a stack of rejected horror-movie scripts found in a studio dumpster.