When talking about “legacy sequels,” that is, modern continuations of classic works, the same question always arises: what is the purpose? With the movie The Exorcist: Believers, that debate will surely be reignited, especially given how current the story directed by William Friedkin continues to be. Fortunately, the main success of this new film is that at no time does it try to emulate what was made in 1973.
Directed by David Gordon Green, who was recently entrusted with the franchise of Halloween to develop a new trilogy, this film works, above all, if its viewing is approached without the expectation of seeing something that reaches the disruptive nature of the original. In fact, the director doesn’t even try. He seems to be aware at all times that it is not something that can be achieved. For this reason, it chooses to deliver a tribute content that, in a certain way, maintains the thematic richness of this film universe, but that is sustained as a piece of supernatural horror that obeys its minimalist style, which enhances the interpretations of the protagonists.
Possessions, of course, are the driving force of this delivery. 50 years after the diabolical attack that Regan MacNeil suffered, evil is free again and, this time, its victims are two preteens: Angela Fielding (Lidya Jewett) and Katherine (Olivia Marcum). They are the daughters of Victor, a widowed photographer (Leslie Odom, Jr.), and Miranda and Tony, parishioners of a Christian church. When the young women get lost in the woods for three days and return with no memory of what happened, inexplicable things begin to happen to them, so Victor turns to Chris MacNeill (Ellen Burstyn), who has already dealt with what is evidently a possession.
The Exorcist: Believers – Movie Review
Although religious symbolism and allusions to faith are present, the writers (Green and Peter Sattler, supported by Scott Teems and Danny McBride) opt for an exploration of the relationships between parents and children, very appropriate for current times in which It is more common to see changes in the emotional relationships of young people who seek belonging and affinity with other people. The proposal is also – as has been done in Hollywood for a long time – proof that it is not wrong to long for what once was. The message is clear: appealing to nostalgia for nothing should be punishable in the film industry.
This is where the addition of Burstyn becomes essential to the narrative. The Exorcist: Believers triumphs by showing us a Chris MacNeil who has used his experience with possessions to help other people, and he says it to Victor, whom Odom gives a palpable pain in his performance. She embraces what happened to her and knows that “evil is defeated in community.”
Okay, seeing his reintegration into history, slowly built accompanied by the unmistakable notes of Tubular Bells, by Mike Oldfield, is a delight, and the Oscar winner returns to the role with great confidence. But, although it seemed interesting to see the character in a new stage – that of unofficial exorcist/mentor of families in the process of grieving –, we soon realized that she will not be the star. And she’s fine.
The Exorcist: Believers – Movie Review
Through Chris, David Gordon Green opens the door to the present without moving away from the past, giving way to a magnificent ensemble led by Ann Dowd, giving a strong and strangely charismatic performance. Where Friedkin’s bet was to show adversity from a cold and crushing perspective – extremely effective – of a confused mother and two priests alone against an uncontrollable force, the new team behind this addition to the saga rather focuses on a melting pot of personalities and cultures, very similar to what was presented in Halloween Kills (2021).
It should be noted that, in addition to being a coming of age realistic that also highlights how important the community can be, the film cannot avoid, at times, succumbing to infallible techniques in today’s horror. So, we have quite a few jumpscares, frenetic editing (by Tim Alverson) and gloomy photography (by Michael Simmonds) that evoke the spirit of the month of October. You can’t deny that to the public.
The Exorcist: Believers It is not a perfect film, but its ambitions are different. Sometimes, not having pressure to meet expectations works very well.
José Roberto Landaverde I am fascinated by writing, listening, reading and commenting on everything related to cinema. I love music and I am a fan of The Beatles, Fleetwood Mac and Paramore. My favorite movies are Rocky and Back to the Future and obviously one day I will climb the “Philly Steps” and drive a DeLorean. Faithful believer that cinema is the best teleporting machine, and also that on the big screen we can all see ourselves represented.