Introduction
Spooky season is officially here, and with it comes the latest attempt to reignite a horror classic: The Exorcist: Believer. Directed by David Gordon Green, known for his recent Halloween trilogy, anticipation was high for a new chapter in the iconic demonic saga. However, from the outset, it's clear this film struggles to find its footing, presenting an "interesting idea" that ultimately fails in its execution.
The Lead Dynamic & The Action
The film kicks off with a compelling premise: two young girls go missing, only to return profoundly changed. While the trailer hinted at this, the movie delivers on the creepiness of its possessed youth. [[Lidya Jewett]] and [[Olivia O'Neill]] as the afflicted girls are genuinely unsettling, particularly when delivering their demonic taunts. Yet, even their performances are hampered by noticeable voice dubbing, a distraction that pulls you out of the horror. One standout moment, however, sees a father talking to his daughter, with a chilling reflection of her possessed self appearing over his shoulder – a subtle, effective scare that unfortunately the film quickly abandons for more overt tactics.
Cameos, Nostalgia & Narrative Stakes
[[The Exorcist: Believer]] attempts to build narrative stakes around the disappearance of the girls for three days, a period that the script heavy-handedly links to a certain biblical figure. Instead of trusting the audience to make connections, the film opts for explicit exposition, a clear sign of its lack of faith in viewer intelligence. The concept of a multi-faith exorcism, bringing together various spiritual leaders to combat the demonic, is a genuinely "great concept" that broadens the scope beyond traditional Catholic rites. However, the execution feels cluttered, introducing too many characters without giving the audience a reason to care about them. The film also features a much-hyped return from Ellen Burstyn, whose character feels like a "cameo for the sake of cameo," adding little to the plot and leaving an unfulfilling impression.
Tone, Direction & Creative Freedom
[[David Gordon Green]]'s direction here often prioritizes sensory assault over genuine dread. The film frequently resorts to loud noises and jarring jump cuts, a far cry from the chilling silence that made the original so effective. It's a barrage of "jump scares to the tenth," suggesting a misreading of what truly frightens modern audiences. The editing, at times, feels "obnoxious," undermining potentially good moments. The overall tone is one of a "rushed, sloppy, generic" possession film, lacking the nuance and creative freedom needed to elevate it beyond a forgettable entry in the genre.
The Final Verdict
[[The Exorcist: Believer]] is a film with promising ideas that consistently fails to stick the landing. Despite some genuinely creepy performances from its young leads, the movie is plagued by a cluttered narrative, an over-reliance on cheap jump scares, and an unfulfilling ending. It's a generic horror experience that struggles to justify its existence, leaving little lasting impact. Audiences looking for a fresh, impactful take on the Exorcist legacy will likely find themselves disappointed, as this sequel quickly fades from memory.
What Worked
- The two young actresses deliver genuinely creepy performances as the possessed girls.
- A subtle, effective reflection scare provides a brief moment of genuine horror.
- The concept of a multi-faith exorcism is a fresh and interesting idea.
- The initial premise of the missing girls creates an intriguing setup.
What Didn't Work
- The film's execution fails to live up to its interesting concepts.
- Over-reliance on loud noises and excessive jump scares assaults the senses.
- Heavy-handed exposition undermines audience intelligence and narrative nuance.
- The editing is often obnoxious and detracts from the viewing experience.
- Cameos feel forced and add little to the overall story.
- The ending is unfulfilling and leaves the film feeling generic.
