Reviews: Exorcism at 60,000 Feet (2019) Movie Review

Genres: Horror, Comedy, Demons
Subgenres: Demons, Supernatural, Survival, Comedy, Epic Battle, Exorcisms, Religion, Satanic, Tourists

Horror fans will enjoy our review of Exorcism at 60,000 Feet (2019), where we cover its story, scares, and how it ranks among modern horror classics.

Exorcism at 60,000 Feet (2019), directed by Chad Ferrin, sets out to be a chaotic mashup of airplane disaster movies and possession horror, filtered through the lens of raunchy parody. It features a cast stacked with cult horror veterans, including Lance Henriksen, Bill Moseley, and Adrienne Barbeau, and it’s clear the film is intended to be absurd, over-the-top, and aggressively campy. While it achieves those goals, whether that translates into actual entertainment depends heavily on your tolerance for lowbrow gags and airborne absurdity.

Exorcism at 60,000 Feet (2019) – Possessed on a Plane, and Off the Rails

Plot, Themes, and Character Development

The plot (if you can call it that) involves a possessed corpse that unleashes demonic chaos aboard a doomed commercial flight. As the plane ascends, passengers begin vomiting pea soup, contorting their limbs, and spewing demonic obscenities — all while Father Romero (Robert Miano), a priest with a shady past, tries to conduct an impromptu exorcism midair.

The film plays fast and loose with themes of religion, sin, and possession, but only for the sake of crude jokes and shocking visuals. There’s no real attempt at character development — most of the passengers are written as stereotypes meant to die (or vomit) in increasingly ridiculous ways.

Instead of building suspense or exploring any psychological horror, the film leans entirely into juvenile humor and physical comedy. Think Airplane! meets The Exorcist, but without the wit or clever timing of either.

Acting and Cinematography

To their credit, the cast knows what kind of film they’re in. Lance Henriksen plays a grizzled pilot who seems perpetually exasperated, Bill Moseley hams it up with the energy of a late-night B-movie marathon host, and Adrienne Barbeau makes the most of her screen time. The performances are intentionally campy and exaggerated — a feature, not a bug.

Unfortunately, the film’s low-budget cinematography and haphazard editing undercut any charm the cast brings. The lighting is harsh, the effects are rubbery and cartoonish, and the interiors of the plane look like they were thrown together on a sitcom set. Gore effects are messy and frequent, but rarely convincing.

Some moments — like a possessed nun crawling across the cabin ceiling or a flying crucifix decapitation — hint at inspired lunacy, but most visuals feel more awkward than entertaining.

Directing Style, Strengths, and Weaknesses

Chad Ferrin directs with a loose, chaotic style, treating the film more like a sketch show than a cohesive narrative. The pacing is fast, but the jokes come in rapid-fire waves — many missing the mark, especially with gags that rely on outdated stereotypes or gross-out humor.

The film doesn’t aim for scares, and it barely attempts suspense. Instead, it tries to go for broke with absurdity, hoping the sheer volume of silliness will win over its audience. For some viewers, that reckless spirit might be enough to make it a cult favorite. For most, it’s likely to feel exhausting and messy.

Strengths:

Weaknesses:

Final Verdict & Score: 4/10

Exorcism at 60,000 Feet is a schlocky horror spoof with zero interest in being scary — and only a half-hearted interest in being funny. It’s a movie that lives for vomit gags, demonic groans, and camp overload, and for some midnight movie lovers, that’s enough. But for most viewers, it’s likely to be a rough ride full of turbulence, not thrills. If you’re not already in the mood for cult-film chaos, this plane might never take off.

Similar films like Exorcism at 60,000 Feet can be found in demon movies sub-genre(s), check them out for more movies like Exorcism at 60,000 Feet.

Sources Used to Shape This Review
Insights in this review are drawn from director interviews, fan commentary, production notes, and long-form breakdowns across genre-specific platforms. Content is written uniquely and reviewed for accuracy.

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