The Exorcist: Believer (2023)

Director: David Gordon Green

Cast: Leslie Odom Jr, Ann Dowd, Ellen Burstyn, Linda Blair*

Have I Seen it Before: Well…

Did I Like It: And that’s not even the real problem. Sure, this is—in the broadest possible strokes—a rehash of the superlative The Exorcist (1973)—but there’s so much more here to annoy me.

Let’s say first that I had more than a little bit of anticipation for this film. I am one of those few people that have genuinely really liked all of Green’s Halloween trilogy (although I loved the first, and like the third better than the second), so I was probably one of the few remaining audience members that Green has yet to alienate.

Well, we’re here now. Is it all as bad as the series can get? No, it doesn’t have the almost willfully silly newage qualities of Exorcist II: The Heretic (1977), but it does get real close. Your reviewer nearly once attended seminary to become a Unitarian Minister, and even I got to a point with this film’s groaning attempts at to make an ecumenical team of exorcists really doesn’t hold a lot of water. The Catholics in the film are rendered as either hapless, meddlesome, or both. I’m not sure why that bothers me—indeed, that depiction of the modern Catholic church seems pretty apt, if a little cliché. It ultimately leaves the film so willfully antithetical to the spirit of the original story and leaves it just like every other pale exorcism-themed immitator of the last fifty years..

It also doesn’t help that the film can’t quite decide whether or not it wants to embrace its legacy or not piss anybody off.

I can’t help but wonder if this is Green attempting what Sam Raimi did with Spider-Man 3 (2007). He can’t want to keep making the same horror legacy sequel over and over again until the end of time, but they keep being reasonably profitable. He’s going to have to work hard—and possibly continue to work even harder still—to eithe get fired or not asked back for the continuation of this process.

*Spoiler, as she apparently got the same deal Mark Hamill got in Star Wars - Episode VII: The Force Awakens (2015).

Exorcist II: The Heretic (1977)

Director: John Boorman

Cast: Linda Blair, Richard Burton, Louise Fletcher, Max von Sydow

Have I Seen it Before: Never.

Did I Like It: And why did I see it now? This is the truly unfortunate reality of the current streaming age. I watched the theatrical cut of The Exorcist (1973) on Max, and then saw that the sequel was right there waiting for me. I had never seen it, already paid for it, and wanted to keep the good feelings going. I was somewhat aware of the film’s reputation, but it couldn’t have been that bad. Right?

Right?!

Well, let me tell you.

Far be it for me to overly rely on comparisons to Star Trek films, but the comparison just bowls me over here. Sometimes, you bring in a director for a sequel that is detached from what came before who found things he genuinely liked about the series, like Nicholas Meyer in Star Trek II: The Wrath of Khan (1982), and things work out great. Sometimes you bring in a similar director who couldn’t be bothered to give one shit about the source material, like Stuart Baird in Star Trek: Nemesis (2002), and things wind up disappointing, at best.

Here, Boorman had gone on record hating the film so much that he even tried to convince Warner Bros. not to make it or release it. The contempt not only plays, but permeates the entire movie. What we’re offered is a hodgepodge of weak characters (including those returning), glacial pacing, terrible special effects*, all head together by the weak glue of new age junk of the worst sort.

Avoid the film at all costs. Also, why the hell is it called The Heretic?

*After this and Jurassic World Dominion (2022), we should really make a rule that the instant movie sequels bring locusts into the proceedings, the whole film ought to be re-considered.

The Exorcist (1973)

Director: William Friedkin

Cast: Ellen Burstyn, Max von Sydow, Jason Miller, Linda Blair

Have I Seen It Before: Oh, sure. My most memorable screening is when I managed to convince someone who at that time was simultaneously a devout Christian and deathly afraid of demonic possession to watch it with me. Truly, the spirit of Pazusu was working through me.

Did I Like It: As we prepared to remedy a glaring blind spot in the canon of Beyond the Cabin in the Woods, I decided to deep dive into the world of Lankester Merrin (von Sydow, for whom the old age make up may look fake at times but is a pretty decent approximation of the man he would become in his later years) and pals. I really enjoyed William Peter Blatty’s original novel, and especially Damien Karras (Miller) as a character, and unfortunately you might soon be subjected to my thoughts about the various Exorcist sequels (except for Exorcist: The Beginning (2004), because even I have my limits*).

And the act of going through the same story in the movie is fine. It hits all the right beats and manages to shake off some of the fat in the original story, but there is something missing in the translation. Such is life when comparing movies to their source material.

Where the movie succeeds wildly (and specifically either the unwieldly “Version You’ve Never Seen Before” or the Extended Director’s Cut) is in its ability to subtly unnerve. One might be able to find the occasional splicing in of Captain Howdy to be a bit of a parlor trick, but for me it is the best kind of cinematic horror. It’s the kind of thing that Murnau excelled at, around which The Blair Witch Project (1999) built an entire movie, and Muschietti occasionally tripped over in IT - Chapter One (2017), where you’re not entirely sure what you’re looking at sometimes, and it seems to live within the shadows which were the stuff out of which the earliest photography was made. That’s simple enough, but then you find yourself thinking about it that evening, and looking at the darkness in the distance as you’re feeding the cat, and before you know it, the movie has stuck in your mind.

*Although I’m not weirdly fascinated by it now. How do you make an early-oughts horror movie (with all of the requisite Matthew Lillard-ness that might entail) with these characters that a studio would feel comfortable releasing? The mind boggles, but that’s probably a discussion for a whole other review.