The late William Friedkin’s The Exorcist is widely considered to be one of the greatest horror films ever filmed. Writer William Peter Blatty would often describe his work as a dark, theological thriller, which aligns more with this writer’s assessment. It’s a chilling film that cuts to the core of the fine line between heaven and hell upon us mere mortals dalliance with every turning decision that we make. Until now there have been a further four features, and a tv series lending its name to the franchise with little success. 

Enter The Exorcist: Believer helmed by Blumhouse and David Gordon Green hoping to turn their tricks and repeat the success of Halloween (2018) by resurrecting a favoured horror franchise for a new generation of followers.All the while true horror veterans smile through gritted teeth hoping that the director leans into the core of the what made these films so iconic and not get lost in the ether of his own meanderings. Producer Jason Blum certainly has faith that Gordon Green can weave his magic once more despite the obvious failings of the recent Halloween trilogies’ last two outings. 

Part of this formula was to bring back the original features’ lead star ala Jamie Lee Curtis’ Laurie Strode, and to also forget the sequels and pick up directly from the first outing. In this instance, the aim is to have Ellen Burstyn take up the role of Chris MacNeill once more and open up her storyline to venture forth into the demonic domain.

One look at the trailer however does not bode well as it smacks of the whole, let’s do the same as the first movie, but go bigger by having two possessed kids instead of one.

All opens well… as far as the dark and doomed are concerned, when Victor Fielding (Leslie Odom Jr) and his pregnant wife Sorenne are on honeymoon. Following a blessing from a voodoo practitioner, tragedy strikes when an earthquake leaves Sorenne injured and doctors force Victor to decide between his wife and unborn child. Cut to thirteen years later and Victor is now raising his daughter Angela (Lydia Jewett) on his own in Georgia, with the passing of his wife. Victor has lost his faith and Angela is in search of the mother she never got to know, pushing her beyond the earthly realm in her pursuit. Angela teams up with her school friend, and devoutly religious Katherine to go into the woods in order to perform a seance. Three days later they turn back up and the possession begins.

From here on in, rather than sculpt the screenplay into a theological mystery, the creative outlet pad out the piece with unnecessary cladding, including trying to crowbar in the Chris MacNeill component with disdain and neglect of The Exorcist. It’s such a pointless direction that it smacks of a cash grab situation, for who should Victor call upon to aid him in his daughter’s plight, but Chris and what’s more, she’s now a supposed expert who acts as though she can resolve the situation with her own form of exorcism. Needless to say, it doesn’t go well and she is then sidelined to make way for a team of exorcists, from various walks of religious experts to cleanse the children once and for all.

The Prognosis:

Take a classic and pour gasoline all over it, light the match and watch everything that made it great burn before your eyes with a thinly veiled excuse for a sequel. At times it feels as though the creatives are laughing maniacally as they try to tweak out the nostalgia using memorable quotes to drag their hopes of a continuing franchise over the line into a money-making enterprise. Its only saving grace is to have Lesie Odom Jr as its lead as he paints a well-crafted portrayal of a father, lost in the struggles of being a sole parent and isolated from the world, consumed by grief and regret. 

Don’t be fooled though, this is not an Exorcist movie.

• Saul Muerte 

The Exorcist franchise: The Exorcist (1973) podcast

The Exorcist franchise: The Exorcist 2 and 3 podcast