When the word “exorcism” is heard by a moviegoer, it dredges up images of contortions, spinning heads and the spewing of split pea soup. “The Rite,” however, uses drastically more modern special effects, although to a less eerie and less disturbing effect.

Sir Anthony Hopkins (“The Wolfman”) is undoubtedly the highlight of the film, starring as the too-cool-for-school Father Lucas Trevant. Lucas treats the exorcisms he performs as if they are a daily norm, even referencing the infamous scene from “The Exorcist” at one point. After performing an exorcism, he asks a young priest-in-training,“What did you expect? Spinning heads? Pea soup?”

The film focuses its efforts on retelling the spiritual journey of a young seminarian, Michael Kovak, played by Colin O’Donoghue (“Wild Decembers”). Given the choice by his family to become either a mortician or a priest, Kovak chooses the latter of the two possible life paths — leading him first to seminary school, and eventually to the Vatican in Rome.

Rome, in addition to Hopkins, is what truly saves “The Rite.” Breathtaking shots of the city and St. Peter’s Basilica launch us into Kovak’s journey, and the rest of the film is spent waiting for those gorgeous panoramas to return. However, the idea behind “The Rite” is thought-provoking to say the least, so disbelief is suspended, and Kovak’s journey takes off.

As he enters an “exorcism class” presented by clergymen at the Vatican, the basic warning signs of a demonic possession are clearly outlined (via PowerPoint presentation, of course) — both for Kovak and the audience, obviously preparing us for impending possessions to which we will bear witness. And “The Rite” does not disappoint in that department.

Unfortunately, these exorcisms are performed on subjects far less disturbing than those of either “The Exorcist” or “The Exorcism of Emily Rose.” All of the customary flags of the devil are present — the sinister voices, bodily contortions and unnerving black eyes — but are disappointingly less hair-raising than those in previous films treating the same topic. With the only additional special effect of some sub-par computer simulation of the possessed’s skin to look veiny and strained, “The Rite” has essentially been done before…only better.

Hopkins revives the lackluster story with his character, bringing a Hannibal Lecter-like eeriness to his persona of Father Lucas. Lucas has been haunted by spiritual doubts for his whole life, perfectly mirroring the uncertainty plaguing Kovak.

It is perfect then, that when Lucas finally becomes fully possessed by the devil, Kovak is present to provide the sacred assistance he needs to be rid of his demons, while discovering his own faith in the process. Lucas’ apathetic attitude toward his almost daily task of exorcising essentially comes back to kick him in the butt, and Kovak is there to bail him out.

Ever since Hopkins’ unforgettable performance in the Academy Award-winning “Silence of the Lambs,” it has been impossible to watch this man assume any character without wondering at what moment he may decide to eat someone’s liver “with some fava beans and a nice chianti.” It is not surprising that Hopkins so easily makes this transformation from holy man to demon possessed, but in this film the transition is uncharacteristically abrupt, thanks to a weakly-written script by Michael Petroni.

There is nothing subtle about “The Rite.” Although some of the possession scenes feel slightly restrained, the rest of the film says what it means and makes no apologies. The supposed love interest, which never pans out, is a shallow but intense character, played by Alice Braga (“Predators”).

O’Donoghue’s character, Kovak, is almost equally as two-dimensional — despite being present in almost every frame of the film — but is sympathetic nonetheless, and O’Donoghue does what he can with the character he is given (It may be noted that this actor looks distractingly similar to Rachel’s boyfriend/assistant, Tag, on the television show “Friends,” which detracts completely from the film’s message).

Eerily based on a true story, “The Rite” holds more emotional weight than it would otherwise. The story and themes are worthy of some consideration, especially for those who find their beliefs aligned with those of the movie’s ecclesiastics. But it’s hard to care one bit about any of the insubstantial characters (once again, with the exception of Hopkins’ role), so the film loses its potential impact and leaves audiences unsatisfied.

2 out of 5 stars