Writer/director William Peter Blatty’s The Exorcist III ignored its predecessor—and his film was better for it
Sequels to The Exorcist always feel sacrilegious, and not necessarily in a good way. How does one follow the scariest movie ever made? It’s a question surely on David Gordon Green’s mind as he releases The Exorcist: Believer, the director’s latest legacy sequel, which—like his Halloween trilogy—skips previous franchise entries and is a direct continuation of the 1973 Oscar-winner. It’s a worthwhile endeavor if not for one problem: The Exorcist III exists.
Blatty avoids comparisons to The Exorcist through a gloomy visual language more nightmarish than Friedkin’s grounded, documentary-inspired style. There’s a classical charm to Blatty’s patient camera. It creeps toward D.C.’s gothic churches and urban rot, shoving the viewer into the otherworldly horrors of mundane spaces and a surreal afterlife staged in Grand Central Station and populated by Fabio, a pre-fame Samuel L. Jackson, and the Angel of Death played by Patrick Ewing.
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