One of the greatest horror films of all time, to this day, is 1973’s The Exorcist. It’s theme of religion vs. evil is one that has been much copied, as has the concept of evil taking over a body.

Trying to give it a new twist is this new film starring Russell Crowe, as an actor who gets a role in a horror film.

After a tragic incident on set, a film in production is in dire need of a new leading man. The director Peter (Adam Goldberg) decides to take a risk with Anthony Miller (Crowe), a washed up actor, who has struggled since the death of his wife. Peter believes he can use that pain for the role as a priest, as well as his years as an altar boy.

With his daughter Lee (Ryan Simpkins) thrown out of school recently, he makes her his PA for the shoot, in the hope they can build some bridges.

But as filming begins, it soon becomes clear that the role is taking over Anthony – literally – as there really appear to be sinister forces at play.

So in terms of priests taking on evil, director Joshua John Miller’s take on it is from a Meta angle.

It’s a film about the making of a horror film, eerily similar to The Exorcist, including scenes of a young woman in bed possessed, which is either a comment on the lack of originality in Hollywood films today, or is just reinforcing it, you decide.

It’s a film then that isn’t exactly subtle; you see the washed up actor has had to face many demons, with his wife’s death leading him to drink and drugs, but now in a horror film, guess what? That’s right, he’s actually facing a real demon. Who saw that...oh, you all did huh.

You can see the appeal the role had for Crowe; a broken actor looking for redemption in a role as a priest, who then gets possessed himself, has a lot going for it and a few juicy levels. Sadly however the film walks a fine line between horror and parody in places, making it feel more like 1990’s comedy Repossessed than a bone fide horror film.

It doesn’t help that Miller is also keen to develop the father daughter relationship, which comes across as rather stale and just slows the film down.

The fact that there is no origin for whatever evil lurks, doesn't help either, as the audience is never told exactly where it comes from, or why it really likes hanging around film studios.

Sam Worthington also appears lost in the whole thing, in what amounts to almost a cameo role. It only confirms to us that agreeing to sign his soul to the Avatar project was career suicide, pushing him further and further away from what was a bright future in leading roles.

Actor turned director Miller, with only his second film, does well in cranking up the atmosphere, to the point where it almost feels like a horror film, but that Meta element is lost in what ultimately is a generic take on an over-familiar theme, one that definitely won’t make your head spin.