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The Devil Rides Out

The Devil Rides Out

Horror · 1968

The powers of good are pitted against the forces of evil as the Duc de Richelieu wrestles with the charming but deadly Satanist, Mocata, for the soul of his friend. Mocata has the knowledge and the power to summon the forces of darkness and, as the Duc de Richelieu and his friends remain within the protected pentacle, they are subjected to ever-increasing horror until thundering hooves herald the arrival of the Angel of Death.

Movie details

The Devil Rides Out

“The beauty of woman...The demon of darkness...The unholy of union.”

1968 Horror 1h 36m

Critical arithmetic

One number, for now.

TMDB

6.5 / 10

Community rating

The powers of good are pitted against the forces of evil as the Duc de Richelieu wrestles with the charming but deadly Satanist, Mocata, for the soul of his friend. Mocata has the knowledge and the power to summon the forces of darkness and, as the Duc de Richelieu and his friends remain within the protected pentacle, they are subjected to ever-increasing horror until thundering hooves herald the arrival of the Angel of Death.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Devil Rides Out?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Terence Fisher

Written by

Richard Matheson

Christopher Lee

Christopher Lee

Duc de Richleau

Leon Greene

Leon Greene

Rex Van Ryn

Patrick Mower

Patrick Mower

Simon Aron

Niké Arrighi

Niké Arrighi

Tanith Carlisle

Charles Gray

Charles Gray

Mocata

Sarah Lawson

Sarah Lawson

Marie Eaton

Paul Eddington

Paul Eddington

Richard Eaton

Court is in session

Put The Devil Rides Out on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Popcorn Loyalist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.