Guided by the sure hand of Scott Derrickson, Deliver Us from Evil puts a twist on the demonic possession film, as cop-movie dramatics blends well with supernatural thrills of the devout variety.

With The Exorcism of Emily Rose and Sinister to his name, writer/director Scott Derrickson knows scary. A lot of that has to do with his openly professed Christianity, an important element when it comes to the portrayal of good and evil in the supernatural context. After all, when depicting the Devil’s work is it not vital to believe his existence?

It is of no wonder than that Derrickson is attracted to the true-life stories of demonic hauntings. Much like The Exorcism of Emily Rose, Derrickson’s latest film Deliver Us from Evil is (very loosely) based on true events, this time of former New York police officer turned demonologist Ralph Sarchie, whose book “Beware the Night” is the basis for this movie.

Eric Bana stars as Sarchie, a tough as nail cop who confronts the evil that men do on a daily basis, an existence that has affected his family life (Olivia Munn plays his wife, Lulu Wilson his young daughter) and his Catholicism (lapsed).

When he encounters evil at its most pure in the guise of a possessed veteran (Sean Harris) who spreads his demonic influence all over the city, Sarchie teams up with unconventional priest Father Mendoza (Edgar Ramirez) to defeat this evil and reclaim his faith.

Most demonic possession movies have a holy figure of some sort (mostly Catholic clergy), yet Father Ramirez is a different and very much welcomed change from the usual. Portrayed by Ramirez with devout stoic, haunting guilt and urban cool, Father Mendoza is a very much a spiritual warrior on the frontlines of a war to save souls.

Among them is Sarchie. His battle against crime on the streets is dwarfed by a battle within himself, a restlessness for spiritual redemption that Bana plays rather brilliantly, as he does all of the facets of a man who has reached a crossroads in his life that will shape not only who he is as a man, but as a soldier in a war against evil.

Derrickson’s handle of the cop procedural elements is very well done. There is much mystery, humour and humanity found during these scenes which enhances the supernatural nitty-gritty that follows, often done so in a lot of dark rooms supposedly since the Devil and his demonic minions are too shy for the light.

Derrickson also overplays the “jump scare” card, and it’s a shame since there are many moments of genuine creepiness in Deliver Us from Evil that had no need of such party tricks.

Above all it’s the weight that Derrickson gives to not only the horror, but the fallen souls who combat it that makes Deliver Us from Evil such an effective genre mash-up, and Derrickson a unique voice in horror filmmaking.