Film Critique: ‘The Exorcist: Believer’ Respects its Predecessor, But Lacks Captivation

The 1973 horror classic “The Exorcist,” directed by William Friedkin, stands as an untouchable pillar in the realm of horror cinema. Despite numerous attempts to imitate or revitalize it, the film’s impact remains undiminished, its role in cinematic history firmly established.

Its enduring potency perhaps emanates from the existential dread that characterized America in the aftermath of the 1960s. The film’s haunting portrayal of young Regan MacNeil’s possession resonates, not least for its unambiguous conviction in the dichotomy of good versus evil. “The Exorcist” treated the otherworldly as unremarkably worldly; the devil was as palpable as the iconic stone steps featured in the film.

Subsequent attempts to capitalize on its success with sequels and spinoffs mostly stumbled and failed to capture audiences. Now, following the recent passing of Friedkin and on the eve of the original film’s half-century anniversary, director David Gordon Green introduces a sequel.

The cinematic landscape’s penchant for reanimating old classics could easily induce skepticism, but “The Exorcist: Believer” appears primarily motivated by a genuine reverence for the original rather than any cynical cash-grab intent. Produced by Blumhouse, the film aims to ignite a new franchise and takes some liberties: this installment features two possessed girls, and religious intervention is not solely confined to the Catholic Church, creating a more ecumenical setting, albeit less spiritually profound.

Green is no novice to the reboot genre, having previously reimagined the “Halloween” series. His latest effort exhibits assured direction. Working from a screenplay co-written with Peter Sattler and based on a story by Green, Danny McBride, and Scott Teems, the film demonstrates restraint and artisanship, at least initially.

The narrative focuses on Victor Fielding (Leslie Odom Jr.), who lives with his 13-year-old daughter Angela (Lidya Jewett) 13 years after losing his pregnant wife in a Haitian earthquake. When Angela and her friend Katherine (Olivia O’Neill) dabble in a woodland séance, the story heads in an all-too-predictable direction. The film momentarily hooks viewers through skillful direction and the grounded performances by Odom Jr. and newcomer Jewett. When the girls vanish and return altered, the film shifts its focus towards the complexities of parenthood rather than matters of faith.

However, “The Exorcist: Believer” soon devolves into a procession of horror tropes: twirling heads, levitating bodies, and demonic clawing. Once the two girls are restrained and surrounded by a makeshift squad of spiritual warriors, the film stagnates in a quagmire of overused horror elements. Green’s usually excellent casting includes esteemed actors like Ellen Burstyn, returning from the original, and Ann Dowd, but even their talents cannot elevate the film above its shortcomings.

Ultimately, “The Exorcist: Believer” fails to evoke the visceral horror of its antecedent, culminating in a climactic sequence that feels sterile and formulaic. Its incapability to recapture the profound terror of the original only underscores the enduring singularity of “The Exorcist.”

The film is rated R by the Motion Picture Association for violent content, disturbing imagery, language, and sexual references. It has a runtime of 111 minutes and earns a modest two out of four stars.

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More about ‘The Exorcist: Believer’ Review

• The Original Exorcist Film Overview
• David Gordon Green’s Filmography
• Blumhouse Productions: Current Projects
• Motion Picture Association Film Ratings
• History of Horror Cinema
• The Exorcist: Legacy and Impact
• Ellen Burstyn’s Career Highlights
• Leslie Odom Jr.’s Previous Roles