When I woke up this morning, I didn’t even have this movie in my mind, but a great endorsement by another review motivated me to switch off the spoiler filled review and look up showtimes. The Conjuring is directed by James Wan, the man behind Saw and Insidious, a couple of horror films I have yet to see, but I’m more motivated to do so now, especially the latter. When a director demonstrates the level of tight grasp on taut, wicked suspense and horror that Wan does here, it puts him emphatically on my radar.
Based on a true story, the film tells the horrifying tale of how world renowned paranormal investigators Ed and Lorraine Warren (Patrick Wilson and Verma Farmiga) were called upon to help a family, the Perrons, terrorized by a dark presence in a secluded farmhouse. Forced to confront a powerful demonic entity, the Warrens find themselves caught in the most terrifying case of their lives.
I love many kinds of horror from slashers films to vampire flicks and beyond, but what really gets me excited is a film like this. A film that is all about the careful art of suspense and tension, and just thinking about what this film does to an audience gives me chills now. As with any “based on a true story” movie, there are potentially some embellishments from the filmmakers for dramatic or storytelling effect. Thus, that can allow an audience to slip a suspension of disbelief into this viewing experience. However, whether it’s all dead bang true or not, this movie is terrifying as living hell. My heart was pounding for five minutes after the film ended. James Wan is clearly a master at this craft because I’ve rarely seen anything this well executed. There is so much he doesn’t show you that utterly chokes the breath right out of your throat. He uses the pitch black dark corners of a house, making you project your own anticipations and imaginations into what lurks there. What these people say they are seeing will stand your hair on end, and when eventually Wan does reveal something to you, it will set your nerves on fire and jump start your heart like nothing else. Yet, this is not a film of jump scares. Every terror is subtly and brilliantly crafted and entirely earned. Things don’t just jump out of the darkness at you, they creep their way in under your skin, and scare the crap out of you. Wan does such a remarkable job showing you just enough to creep you out, and have the tension choke you up. A demonic face will ease its way into the frame, but will smartly cut to the next shot, keeping you on edge.
The film does have moments that could have been false jump scares, if handled by a much lesser filmmaker, but this film has so much better stuff waiting for you that it doesn’t need to fall back on cheap tactics. This film starts out ready to slam the fear factor into full gear. From the guy who made Dead Silence, it’s no wonder that a creepy, demonic doll jump starts the looming, pounding terror, and weaves its way back into the film later on. I just love that Ed Warren knows the doll is so dangerous, he has to keep it in a glass case with a sign that says, “Positively do not open,” in a room full of demonic artifacts completely out in the open.
Patrick Wilson and Vera Farmiga do an amazing job as Ed and Lorraine Warren, respectively. You can tell these are two people who have been through some intense circumstances because their bond is extraordinarily strong. All of these people, based on real life individuals, feel like fully dimensional, deeply human people. The emotions are strong, and the depth of belief in one another between Ed and Lorraine shows that a rare love would have to exist to keep these two people together through the hell they have experienced, first hand. Ed cares deeply for her safety after a terrifying exorcism incident really traumatized Lorraine, but seeing her strength constantly show through is amazing. If this is at all an honest representation of these two legendary paranormal investigators, my respect goes out to them just for their unwavering dedication to one another and what they do.
This film does a great job of balancing the story between the Warrens and the Perron family. Both of their stories are being told side-by-side and are interconnected. The fact that this entity latches onto both families compounds their problems makes for a greatly more intense story, and Lorraine getting more and more visions that frighten the hell out her just drives the terror forward incredibly intense.
Lili Taylor is taken on a real rollercoaster ride, and she handles it incredibly well. As Carolyn, she’s a wonderful mother and wife, but as these horrific experiences befall her and her children, Taylor sells the fear with grave importance. She and Ron Livingston work very naturally together, and no one here feels cheated on character or substance. All of the daughters are magnificently portrayed by an array of solid young actresses. Everyone feels like a real human being, and have very realistic chemistry and dynamics amongst them. Joey King has an amazing moment of paralyzing terror seeing something terrifying in the shadows that is never revealed to us. There is solid talent all throughout this cast that is absolutely impressive creating a very grounded, convincing realism to this extraordinary series of events.
The Conjuring also looks excellent as James Wan works with his regular cinematographer John R. Leonetti. They use light and especially shadow to brilliant effect. Few horror films really utilize the unseen mystery of darkness remotely as well as this film does. There are many moments where light bulbs are busted out, or very little light is present down to a mere match lighting up a whole creepy, spider web filled basement. It puts you so precariously on edge that you don’t know where or when the terror will come at you through that thick blackness. The cinematography really starts to get stylistic, in very good ways, during the climax. Many unique angles and good movement is utilized to surprising, clever effect. Yet, overall, the film is shot wonderfully never trying to distract or dazzle you with frenetic movement. Instead, there’s a lot of great still shots and flowing steadicam work to make this feel like this is a horror film with its feet firmly planted in the ground. It would’ve been easy for another filmmaker to make this feel like a 1970’s movie with a lot of film grain and handheld camera work, but again, this film doesn’t need much in the way of stylistic visuals to be amazingly effective.
And the score is greatly crafted and perfectly utilized. Most commonly used is a very low rumble that will rattle you with an ominous, foreboding feeling. The score never tries to over accentuate the scares. It’s right there in line with the intensity of the moment, and only strikes out at you when needed. This is a horror film that knows the value of silence, and the right time to tweak your nerves in the right direction with an appropriate music cue. You won’t find any clichés in the work of Joseph Bishara here.
And as any haunted house movie begs the question, this movie clearly answers why this family doesn’t just pack up and haul ass out of there. They’ve poured all their money in this new home as a family of seven in a new area where they don’t know anyone else. They have no alternative but to stay here. Yet, even if they did, the film has that great hook that the demonic presence has latched onto them. It doesn’t matter where they go, this thing is going to follow, and so, there is no escape. They have to confront and defeat this entity in order to move on with their lives. This is a horror film that has good doses of exposition, but it is handled so damn well that you are intently invested in every word that Ed or Lorraine relay to the Perrons. We see all of this come greatly to a head in a riveting third act.
When things ultimately go all to hell, the film ramps up the intensity so damn tightly. Anyone who has seen their fair share of horror films is quite familiar with the exorcism scene formula. While The Conjuring doesn’t do anything that will revolutionize that aspect of horror, James Wan still executes it will a lot of artistic merit and vision. Having the possessed individual covered in a sheet the entire time allows for the audience to project their frightening imaginations upon it, and think of just what this demonic entity is doing under there screaming and shrieking. The house shakes, birds crash into the windows, things are going insane, and just when you think the calm is setting in, it’s only elevating to the next level. There is so much hair-raising terror to be sucked into throughout this film, but I think it’s best sequence is when the Warrens’ daughter is being haunted by the entity and the possessed Annabelle doll from the opening sequence returns. Just thinking about it sends chills all over me. Typed words simply don’t do it justice. This is a film designed to tighten your every muscle, and strain every nerve across your skin. If you read my review of Sinister from last October, you’ll know how much that film scared me, and I would put The Conjuring right up next to that if not above it. The heart pounding terror continues to amplify throughout the film, and even the final moment of the movie still gets you in a really smart way that is never cheap. This is a high grade horror film with sophisticated filmmaking by a director who is clearly a master of the genre.
If you love being scared at the movies, and really enjoy something that is taut, chilling, and suspenseful, it is all here in The Conjuring. This film will indeed scare the living hell out of you. It is one of the most frightening horror films I’ve ever subjected myself to, and I look forward to being scared by it again and again. You should absolutely go see this as long as you’re not weak of heart because it will put a toll on it, for sure. This film earns every scare so brilliantly. There is just so much great terror on intense display that I could never cover it all, and there is no way I would spoil a single scare for you. Backed by a stunningly strong cast, especially in the case of Patrick Wilson and Verma Farmiga, you cannot go wrong with The Conjuring. This movie keeps giving me chills thinking about it. It is worth every penny you spend on your ticket and then some. This is one of the best horror films I’ve seen in years. Based on this film alone, I am going to check out Insidious, and then, hopefully look forward to Insidious: Chapter 2 coming this September.
This used to be the scariest movie I had ever seen. When it was theatrically re-released in 2000, I was paralyzed with fear in my theatre seat. When I saw it theatrically in 2010, the film barely did anything for me. I’m not entirely sure why this is, but I have theories. Possibly a decade of exposure to numerous hardcore horror movies have hardened me as a movie-goer, thickening my skin and threshold for terror. By comparison, The Exorcist III has been a consistently effective film that I have gained more respect for with each viewing. This review is surely not a negative one in the least, but it’s important to know my experience with The Exorcist over the years.
Taking up temporary residence in Georgetown, Maryland is movie actress Chris MacNeil (Ellen Burstyn) who is having her troubles. The script for the movie she’s filming seems inadequate, her ex, who is also the father of her adolescent daughter Regan (Linda Blair), neglects to call the girl on her birthday, and the attic has rats. Meanwhile, Father Damian Karras (Jason Miller), a priest and a psychiatrist, is losing his faith while dealing with a terminally ill mother who needs medical care he hasn’t the money to provide. Meanwhile, the sweet and innocent Regan has undergone a slow, brutal change in both the way she looks and the way she acts, with violent outbursts on everyone who comes in contact with her. Medical professionals prove to have no cure for her condition, and thus, her worried mother meets with Father Karras with the belief that her daughter is demonically possessed. She requests an exorcism, which Karras and the church are hesitant to grant on a whim. Another priest, the old and ailing Father Lancaster Merrin (Max von Sydow), has just returned from an archeology expedition in Iraq with forebodings of evil. He has faced this unholy evil before, and soon, will have to face it again.
I believe the main aspect of the film that made it so effective was its realistic quality. William Friedkin shot this in a very textured way. Lighting is very natural and subdued. It never looks staged or stylized. Friedkin intended to take a documentary approach to the film to give it sense of grim realism. The scenes in Iraq are very gritty with an unsettling and harsh quality that is striking. The scenes in Georgetown have a slightly gloomy autumn quality that boosts the foreboding and grim nature of the movie. Yet, there is still eerie beauty at times such as the moment where “Tubular Bells” creeps into the score. Friedkin simply instills a lot of subtle atmosphere with the lighting, camera work, and the score that gets in under your skin. He uses the music very sparsely allowing that ambient reality to seep into your nerves. That realistic tone in the visuals and the performances solidly grounded the film, and thus, when these horrific changes begin to surface in Regan, they are all the more unsettling and chilling. The sound design is profoundly effective. These disturbing auditory elements are mixed in together at a high volume to truly jump out at you in an almost unnaturally loud way. It’s an example of using sound effects and design to establish an unnerving mood without resorting to a musical score, which supports the documentary feel Friedkin was going for, and it succeeds in spades.
Now, William Friedkin has been known to be quite the bastard of a filmmaker. Him firing guns on set, and throwing his actors into hard stunts to get a visceral reaction out of them are just a few reasons why. Personally, as a filmmaker myself, I don’t believe someone has to get hurt for the sake of art. There’s always another way to achieve the results you want. Still, regardless of how you view his methods, his results are very intense. He always casts great actors, and does some challenging work with them. With these actors, we are given a breadth of deep, hard hitting emotion that penetrates the characters’ souls. The struggles of faith with Damien Karras are portrayed with deep heartache and weariness by Jason Miller. You can empathize with his pain and fear as you see the dour aspects of his life. It is a powerful performance that Miller poured deeply into his soul to achieve. Ellen Burstyn put in a very warm portrayal that gradually morphs into something very raw and painfully emotional. The grief she expresses as Chris MacNeil is heart wrenching and soul tearing. It hits harder than anything in the film, and sells the terrible reality of the horrific situation she faces.
There is a fine, understated performance by Lee J. Cobb as Lieutenant William Kinderman. He investigates the mysterious death of Burke Dennings, the drunken director of the film Chris MacNeil was involved with. Cobb walks a fine line between earnest, probing investigator and kind-hearted soul. He surely makes assertive inquiries about this unusual death, but treads cautiously amongst these people. He questions as much as he observes them trying to decipher the deeper reality of what’s happening. This made the character very intriguing and just endearing enough to connect nicely with an audience. Cobb passed away less than three years after the film’s release, and was succeeded in the role in The Exorcist III by the acclaimed, powerhouse actor George C. Scott. Cobb laid a solid foundation that Scott strongly built upon in that excellent film.
However, the most understated, yet immensely captivating performance comes from Max von Sydow. While I feel the film could have benefitted from more time spent delving into Father Merrin, what von Sydow brings is substantially strong on its own. Merrin himself is a few decades older than von Sydow was at the time, and his acting as a frail elderly man is pitch perfect. He has a cautious grace in his movements and a sophisticated sensibility that comes with wisdom. The calmness and power he brings forth in the final act tell much about Lancaster Merrin’s soul. While he has his battle scars from a previous exorcism, his weathered soul still holds his faith and will solidly.
It’s also shocking and amazing what Linda Blair did in this role. She easily endears herself to an audience with her innocence and playful nature. She worked beautifully with Ellen Burstyn as a very natural mother-daughter relationship. Of course, it’s easy to overlook the performance after the possession since all her lines were overdubbed by the grizzled voice of Mercedes McCambridge, but what she physically does is immensely impressive. She was put through a lot of long hours in pain and deep cold to achieve what she needed to. Even the make-up prosthetics were a challenge that she would not subject herself to for the sequel. For being so young, only fourteen at the time of filming, she dedicated herself with a strong stability that should be highly admirable to any actor. The overall performance is quite amazing, and in the darker areas of the film, rather disturbing.
I find the make-up effects work to be very effective. As the possession gets worse, Regan’s flesh becomes cracked with open sores and discoloration. It looks like she’s almost rotting away due this demonic evil within her. The visuals of this can be disturbing to many viewers. While times certainly have changed greatly since the early 1970s where this had people fainting and throwing up during screenings of this film, it can still hold chilling weight today. It was a startling motion picture that blindsided audiences, and much of that is due to both those grotesque make-up effects and the style of editing. Quick flashes of the demon face are what frightened me for the longest time. It’s a face that sends chills all over me still. It’s something that nightmares are made of, and a haunting vision that would be terrifying to see peering out of the darkness at you, which is exactly what it does. It’s immensely effective, near subliminal trickery.
The Exorcist does give us a few sequences that establish something sinister or malevolent looming over these characters. Father Karras has an ominous dream sequence about his ailing mother that does haunt him. Also, Father Merrin staring down the stone statute of Pazuzu in Iraq has a fierce, raw unnerving quality which sets a foreboding tone early on. It’s also your preference whether to watch the original theatrical or extended edition. However, the extended cut does add in a couple of editing effects that throw that demon face into a few unsettling scenes. Lights are flickering in the MacNeil house, hinting that a powerful force is at work, and that fearsome visage does make a small appearance. Regardless of which cut you choose, the film truly is ripe with chilling moments that demonstrate the skillful quality of William Friedkin.
I will say straight out that I have no religious beliefs. However, I can still perceive and appreciate how deeply this film’s subject matter penetrates into an audience with them. In the least, it’s a film that explores a pure embodiment of evil that is able to corrupt even the most innocent among us. If this timeless, demonic evil could possess this pure of heart young girl in the context of such a grounded, hardened reality, many audiences easily could be rattled to their core. The Exorcist is just as much of a film that frightens with its visuals and sound as it does with its ideas. William Peter Blatty truly constructed a deeply detailed screenplay built off a novel written with the help of a real life priest. Everything was well researched and discussed where the church is concerned to understand exactly who these men of faith were, and the depth of knowledge with demonic possession and exorcism. All of that detail comes through in Friedkin’s film who even cast several real life priests in key roles. That casting was smart as they carry a certain weight and aura about themselves that is very natural. They truly added to the realistic strength of character through the picture.
I suppose my only criticisms upon the film are that I do feel that Lancaster Merrin could’ve been fleshed out more for us to have a better context and perspective on the man himself. He’s given a perceived poignancy in the film, but he ultimately has little poignancy to the story. I also believe that the ending feels a little shorted. With the grueling battle that Merrin and Karras were waging in that room during the exorcism, the conclusion did feel a little lacking in substantive pay-off. The ending to William Peter Blatty’s The Exorcist III would end up being very grandiose, almost seeming a bit too over-the-top, but still, it had enough direct, dramatic pay-off to feel like a satisfying conclusion. With this film, there almost seems to be a lack of dramatic build-up to the very final moments. It surely doesn’t end how one would expect it to, which is a good thing, but let’s just say that the Merrin character again seems to be slighted. I can surely understand the idea that the film is more about Damian Karras, but Merrin is surely meant to be the climactic difference maker in this plot, yet he is dispatched with most unceremoniously. He is supposed to be the title character of the movie after all. Max von Sydow gave the character such immense depth with little to no dialogue that I felt he should’ve been a more purposeful element in the overall film, and given a proper story arc. He’s given enough setup and build up to support that idea, but ultimately, he’s not given that weight of relevancy. It’s just something that has regularly nagged at me with the movie. A little more time spent with Merrin could’ve helped create a more gradual transition into the third act, and perhaps, motivated Blatty and Friedkin to actually conclude his story on-screen. As it is, Father Merrin is more of a plot facilitator than a character with his own story to tell, and I believe that to be a negative mark against the screenplay and film.
While I supposed my skin has thickened over the years where horror films are concerned, I cannot discount the strength and quality of this film. There is absolutely nothing wrong with the horror elements here in the least. However, it can be difficult to judge if people still call this “the scariest movie of all time” due to just blind reputation, or because they truly, personally feel that way. Since the effectiveness of this film has lessened with me over time, and I have found new horror films that scare me more profoundly than this, I would have to question whether current audiences genuinely believe The Exorcist to be the scariest of all time. So, I suppose this makes for an unusual review. The Exorcist surely is an exceptionally well made film with intelligent themes and deeply frightening elements that have immense impact on a visual and auditory level. Yet, it doesn’t affect me remotely as much as it once did. Regardless, I cannot deny that it once did have a powerful effect on me, and likely still does on countless others.
I very much love this film, and count it as an all time favorite. I saw it twice in the theatre in 2005 because I was very much enthralled by the concept of the film and the excellent execution of all its characters and ideas. It has since remained a strong favorite of the genre for me, and has driven my fandom of John Constantine further. I was not knowledgeable about him before seeing this adaptation, but in the years since then, I have become a fan. In the Hellblazer comics from DC / Vertigo, he was a blonde Englishman created by the widely revered Alan Moore and visually based off of Sting, the front man for The Police. Obviously, that does not fit the description of Keanu Reeves, who portrays the title character as a dark haired American in Los Angeles, and there are numerous other changes here that deviate from the source material. That inevitably irritated numerous hardcore Hellblazer fans, but since this was my introduction to him, I can allow both versions to co-exist in my fandom. There are many reasons why I highly love this film including its gorgeous visual style, the world it showcases, and the potential of the characters.
It is said that whoever possesses the Spear of Destiny holds the fate of the world in their hands, and the Spear of Destiny has just been found and put into the hands of evil influences. In Los Angeles, exorcist and occult detective John Constantine (Keanu Reeves) begins to see foreboding signs of something big and unfriendly coming with demons forcing their way into our world, but at the same time, the anti-social chain smoker is diagnosed with lung cancer. It’s not so much the diagnosis that troubles him as the knowledge of where he’s going. John was born with a gift he didn’t want, the ability to clearly recognize the half-breed angels and demons that walk the earth in human skin, and Constantine was driven to take his own life to escape the tormenting clarity of his vision, but he failed. Now, marked as an attempted suicide with a temporary lease on life, the bitter hard-drinking, hard-living Constantine seeks a reprieve from his Hellbound fate. He patrols the earthly border between heaven and hell, hoping in vain to earn his way to salvation by sending the devil’s foot soldiers back to the depths. Unfortunately, he gains no absolution from the half-breed angel Gabriel (Tilda Swinton), and no consolation from strenuous allies such as the ominous former witch doctor Papa Midnite (Djimon Hounsou). They all adhere to “The Balance” which keeps half-breeds from directly interfering in human affairs in order to settle a wager between God and the Devil for the souls of all mankind. When desperate but skeptical LAPD Detective Angela Dodson (Rachel Weisz) enlists his help in solving the mysterious death of her beloved psychic twin sister, their investigation pushes them deep into a subversive plot to use the Spear of Destiny to bring forth an evil that threatens to destroy humanity. Caught in a catastrophic series of otherworldly events, the two become inextricably involved, and seek to find their own peace at whatever cost.
Director Francis Lawrence came from a music video background, and that can be hit or miss when moving to feature films. However, Lawrence’s background was clearly a benefit as he injects a very powerful and epic visual style into this film. Director of Photography Philippe Rousselot realizes that immersive vision brilliantly. His composition is rock solid creating very engaging visuals that pull an audience into the story and characters. There is depth to spare in his frames, and plenty of grace and integrity in how he shoots everything. There’s never any handheld camera work. It’s all fluid movement that contributes to the overall enveloping otherworldly tone of the picture. The use of color temperatures is very key to the atmosphere as it accentuates the dramatic tones throughout with a vibrant palette. This is a gracefully shot film with great attention to creating a unique atmosphere and tone in its visuals.
The overall quality of the visual effects are stunning. They are exceptionally consistent and of an amazing high quality. From subtle effects like the fiery glint in the eyes of demons to the enveloping landscape of the Hell version of Los Angeles, they create a complete, rich, textured, and full world for John Constantine to exist within that is truly convincing. The fearsome demonic creatures seen throughout are designed with consistency and originality. This feels like a world with its own weathered history, and attention is paid to every detail to present it as such. The entire “into the light” effect in the climax is awesome as the shadows are literally pulled away to force the evil presence into view. There is never just one effect used over and over again as a crutch. The film is full of vibrant effects that give the film its fantastical flare. Overall, every effect is just executed and presented with amazing artistry complementing Francis Lawrence’s vision beautifully.
I also very highly enjoy the score to Constantine. It has a great atmospheric, haunting electronic style that further fleshes out the otherworldly quality of the film, but still incorporates plenty of traditional score elements that punctuate the rousing, dramatic sequences as well as the softer, more intimate emotions of the film. Composers Klaus Badelt & Brian Tyler put together one hell of a unique musical accomplishment with this. I’ve never heard a score quite like this before, and it works so amazingly well. There is a great use of melody all throughout which enhances the emotional depth that this film is truly rich with. This is definitely a film that takes a different approach to things to give an audience a very distinctive identity for an all encompassing experience. The addition of the song “Passive” from A Perfect Circle is wicked cool in my opinion. It truly set a great tone entering into Papa Midnite’s club.
These enveloping elements wrap together to create a very rich story with a tone full of integrity and gravity. It can be a very haunting and scary film that uses horror elements at times, but is best categorized as a supernatural dark fantasy action film. The action in the film are not big set pieces with spectacular stunts. John’s not some bad ass action hero who can slug it out with a demon. Instead, he uses his occult and demonic knowledge as well as his skills as a con artist to help him win battles. He fights smart using the tools he has acquired which exploit the weaknesses of his enemies such as holy water, Moses’ shroud, a pair of Holy Cross brass knuckles, dragon’s breath, and various eclectic items provided to him by his allies.
This story is partially inspired by the Dangerous Habits comics storyline, which I have read. There’s little directly adapted from that story, and is more just taking the premise of Constantine being diagnosed with lung cancer and having to cope with that. How he deals with it and the resolutions of the comic and the film are very different, but both greatly show off John’s cunning skill as a con artist to varying degrees.
Constantine himself is very fascinating, and I think this version of him is well portrayed by Keanu Reeves. I am quite a big fan of his work ranking Point Break as one of my absolute favorite films ever. I find his work quite enjoyable, and he has some highly impressive acting ability. I think his approach tends to be more subtle, and with Constantine, he really drives home a very diverse character. Reeves showcases Constantine’s jaded personality with depth and purpose. He brings out that worn down, weathered texture that makes the character so intriguing and surprising. He can be an outright asshole because he’s been both plagued by the knowledge he has about the world around him, and that he’s destined to spend eternity in Hell, regardless of what he does. He’s tired and frustrated by these rules that these so-called “higher beings” have imposed upon humanity for their own sport, and he knows there’s little he can do to combat that. Keanu gives the character enough edge while still maintaining an underlying sense of humanity which evolves through the film. As the story goes along, he becomes more and more invested in Angela as a person instead of just her being a cog in a larger plot. You gradually see the bond form between the characters, and how that starts to drive John’s actions. There’s a pivotal shift in there where he stops sulking in his own pain and starts seeing Angela’s. He sees her regret and how far she’s willing to go to mend it. John can still be an asshole, but ultimately, it’s just to those that deserve it. Reeves portrays these subtle and strong emotional beats powerfully showing that there’s more to Constantine beyond that spiteful, embittered exterior.
Another subtle part of John that’s retained from the comics is how his friends constantly pay the price for his battles. In the comics, John is haunted by the ghosts of his dead friends, and the screenwriters slipped a brief line in here about John not needing another ghost following him around. So, it’s no wonder that he’s as cynical and jaded as he is, but it’s also these circumstances which drive him to fight. He challenges everyone on their egotistical or hypocritical behavior, and allows no one to slide.
However, the arc for the character takes him from being a self-serving person who fights evil for his own sake to someone that does the right thing for the sake of others. It takes nothing away from the hardened core of the character, it just makes him an actual hero by the end. That is helped immensely by Rachel Weisz’s emotionally impactful performance. Reeves and Weisz had previously worked together on the 1996 film Chain Reaction as love interests, and perhaps that added a stronger chemistry between them. In this film, their chemistry is exceptionally solid and tight. They have great back-and-forth dialogue with sharp timing and rich character dynamics. Angela is also easily able to stand up to John’s abrasive attitude which is a welcomed quality. Weisz strongly portrays the more emotionally and psychologically vulnerable counter-balance of the story. This allows an audience to have a relatable conduit into the character of John Constantine and his supernatural world. Rachel Weisz is an incredible actress showcasing a wide range of abilities here. She is remarkably powerful bringing out the emotional pain that Angela has deep within. However, while Angela is vulnerable, she is a police detective, and thus, Weisz never makes her appear helpless or incapable of defending herself. She has a definite strong will and confidence about her mixed in with a grounded, engaging charm. It’s simply that the character been impacted by tragic events, and is thrust into a potentially frightening scenario which brings out those fearful or unstable elements in her. Weisz handles it all with dramatic weight and grace.
It is also immensely impressive how strong the supporting cast is in Constantine. Djimon Hounsou has such an awesome presence as the witch doctor turned night club owner Papa Midnite. His deep voice and subtle charisma give weight and gravity to his performance. He can be greatly imposing and intimidating without even standing up in his initial scene. Hounsou and Reeves spark a fascinating chemistry. They play the characters with a sense of shared history which has its turbulent areas which causes friction and some antagonism between them. The screenwriters had a good philosophy of the best way to convey exposition about a character is to show them working. You get to know more about Midnite and Constantine through what they do and how they go about doing it than can really be conveyed through straight dialogue interactions. This is showcased beautifully in the sequence with “The Chair” which allows John to see the path the Spear of Destiny has taken recently, and to find out where Angela has been taken. It’s a manner of operating alluding to information that is necessary for them to know to do what they need to do, but is not necessary to be spelled out for the audience. This further reflects the sense that this a world with a long, textured history between characters, and it is presented in a very smart way that never bogs down the film with extraneous exposition. Midnite himself has a very pleasing arc in the story that ultimately shows Hounsou’s range and charm. He makes the character very fascinating, imposing, but ultimately, highly pleasing.
Tilda Swinton is immaculately graceful and elegant as the half-breed angel Gabriel. The filmmakers chose to go with an androgynous quality for the character, and absolutely wanted Swinton for the role. They chose incredibly well. Her performance has a gentle compassion that eventually turns into a subtle megalomaniacal mindset. She also has an ethereal aura and presence about her that is pitch perfect. It’s a nice dynamic when Constantine goes to see her with him ranting and calling out the hypocrisy at hand, but she offers up a very warm, motherly tone with him. They are both trying to make each other see things from their perspective, and neither is entirely in the right. There is a very aristocratic, snobbish mentality from Gabriel that John can’t stomach, and it works so exceptionally well for this character. It’s such a remarkable performance that the words to describe it in depth escape me.
Now, this film was before Shia LeBouf started grating on peoples’ nerves, but here, there’s enough heart and charm with him as Chas to make his performance a pleasure. Chas is spirited and driven to be given the chance to be of real assistance to Constantine instead of just his personal cab driver, but John just knows the danger of allowing him to do so. Yet, Chas is eventually given the chance to show his worth. As with everyone else, the chemistry is dead on the mark perfect. Gavin Rossdale’s turn as the demon Balthazar is oozing with charisma. He relishes being engulfed in evil, and that delicious smarmy arrogance just pours out over the screen. The tension and spite between him and John is thick as can be. You can’t help but love and hate him all at the same time. All of the actors throughout the film really inhabited their characters with exceptional commitment and nuance, and came together as a cohesive whole to deliver something diverse and marvelous.
Of course, there is Peter Stormare’s magnificent performance as Lucifer himself. There have been so many portrayals of the Devil over the years in cinema from some massively talented actors, and each portrayal has been unique. Stormare takes unique to a whole new level here. The physicality alone is unsettling as if he’s trying to uncomfortably fit back into a human form like it’s an old out of shape body suit, and it results in some peculiar and tense nervous energy. The look is striking enough without devolving into shock. The shaved eyebrows and shorn haircut along with the tattoos really present a standout visual that separates Lucifer from everyone else in the film. Stormare takes all of this to forge a weirdly eccentric Devil that doesn’t need to flaunt an ego or boast of his power. His creepy, chilling presence sells everything. The addition of the pure white suit and bare feet was a nice touch, and it really fits the visual aesthetics of the film.
While I have nothing against a well done origin, it is very commendable that this is not an origin story spending a large percentage of the film showing how Constantine became the man he is today. His back story is not even revealed until well into the second act as we get to know it alongside Angela, and allusions to other shared histories are sprinkled throughout. The film treats its audience as intelligent by not having to explain every little thing. It presents a world, gradually lays out the general parameters of how it works, and then, allows it to envelop the audience. I like this approach for the character because there is a lot of John Constantine history that is very relevant to the character, but it would be nigh impossible to hit all the poignant marks to develop him fully in a two hour film. Starting a film series here is very interesting because it takes John from the jaded, weathered depths to someone more purposeful and formidable. It is a greatly executed arc wrapped up in a strong plotline backed by some excellent talents in front of and behind the camera.
It seems hard to judge where this movie stands in terms of general consensus. It’s not one of those comic book movies everyone talks about, or includes on the list of the best or worst adaptations. I seem to perceive this as a film that had good commercial success, but tends to get overlooked for no apparent reason. Professional critics were divided on it, but the thing with critics is that they get paid to go see movies they are not always pre-disposed to enjoy. This was a movie that appealed to my tastes via its marketing, and it did blow me away. Again, the hardcore fans of Hellblazer likely had their passionate gripes with all the changes made to the established elements of the property, but it’s not a bad film at all. It’s exceptionally well made from a filmmaker with great vision and artistry, and features an amazing cast that put their all into it. From an objective point of view, it’s a greatly entertaining and satisfying film. It has plenty of interesting action, an excellently crafted world, fantastic, stunning visual effects, a unique and fascinating score, and is just generally well written all the way around. I really love this film, and I love what I’ve read in the Hellblazer trade paperbacks. Both offer me something different but equally satisfying to my tastes for supernatural horror and dark fantasy. If you’re unfamiliar with the property, this film can ease you into the heavier subject matter and grittier feel of the comics, but they are two unmistakably different presentations on the characters and the world they inhabit. Taking the film on its own merits, it’s a highly imaginative, excellent piece of work that is worth investing your time and interest in.
The Exorcist franchise is like a roller-coaster – lots of ups and downs. The original film is an eternal, bona-fide classic. The Exorcist II, while I have never seen it, is generally revered as a terrible mess of a film. Things swing upward with William Peter Blatty’s The Exorcist III. Blatty adapts his novel Legion into this theatrical outing with him directing as well. While this film is very much in a far better direction, there was studio interference which mostly complicated and muddled the film’s ending. Still, there’s a surprisingly creepy piece of horror cinema to behold that has gradually become one of my favorite horror films of all time.
Set fifteen years after the events of the first film, we mainly follow Lieutenant Bill Kinderman (now portrayed by George C. Scott) who has formed a friendship with Father Dyer (Ed Flanders), friend and confidante of the late Damien Karras. It’s an odd friendship built on a love of movies and the memory of Karras. The Lieutenant is investigating an eerie string of disturbing murders that harkens back to those of the Gemini Killer (Brad Dourif), who was executed fifteen years earlier. There’s a religious subtext to some of the murders, but none of the forensic evidence pieces together from one death to the next. Things become stranger when investigating at the hospital Kinderman discovers an isolated mental patient who claims to be James Venamun, the Gemini Killer, but bares a striking resemblance to Father Damien Karras (Jason Miller). He is clearly insane, but knows everything about the original Gemini killings. He also refers constantly to “the master” who slipped him into this body as Karras was slipping out after his fateful fall down the steps fighting Pazuzu. Kinderman can’t see the evil within, but he feels it and knows the death and dismemberment it has caused. As Kinderman comes closer to deciphering this demonic mystery, his own soul and life could easily be in danger as well as others’.
This is a positive review, but I’m going to start out with the bad first, just to change up the template. The ending to this film was changed because after the studio renamed the film from the novel’s title of Legion to The Exorcist III, they realized there wasn’t a single exorcism in the script. To accommodate this, an extra plot line was introduced which bought Jason Miller back, and a line about seeing through “the eyes of faith” to accommodate having footage of both Dourif and Miller portraying the same general character. None of that is really a problem in terms of storytelling or the quality of the film. It’s all handled and balanced beautifully through clever editing and storytelling. Where the problem lies is the climax and conclusion of the film. What we’re inevitably left with is an overly grandiose exorcism with a breadth of fantastical, biblical, and blasphemous imagery which seems a little out of place and over-the-top. Granted, there is a heavenly dream sequence with a wealth of respective imagery. Also, there are supernatural elements throughout the film, but they’re more subtle. This ending breaks the restraints and lets loose the floodgates. In one perspective, it might seem appropriate like the gates of hell have been breached, and everything is being unleashed. However, to my perspective, it doesn’t seem to mesh all that well with the rest of the film’s style, and twists the story into an odd direction which isn’t as satisfying or coherent as it probably could’ve been. There’s also the dictated addition of Father Paul Morning (Nicol Williamson) to the film who is not given any character building scenes to integrate him into the story. This addition causes some storytelling problems, and seems like an irrelevant diversion from the plot until the finale justifies it. All of this doesn’t kill the movie, but I would’ve been interested to see what Blatty originally had in mind. Apparently, the novel does not have a happy ending.
Onto the good stuff. George C. Scott commands this movie. From the guy who won an Academy Award for his powerhouse portrayal of General George S. Patton (though, declined the award), that’s to be expected. He offers up a dry sense of humor, some degree of grief, but overall, he provides conviction and intensity to Bill Kinderman. The highly acclaimed character actor Lee J. Cobb originated the role in the 1973 film, but the actor passed away from a heart attack three years later. Ed Flanders takes over the role of Father Dyer from the real-life priest, Father William O’Malley. Jason Miller is the only returning cast member from the original film, and does a very subdued and creepy performance as the brain damaged ‘Patient X.’ However, where the acting really soars is Brad Dourif. Whatever roll he was on going into this film, it made his performance enveloping. You just can’t turn away. With the monologues he had to deliver, the role and performance could’ve killed the film, dragging it down into boredom. Fortunately, Dourif has a magnetism that just reels you in hook, line, and sinker. His charisma eats up the scene, and the sparks that fly between him and Scott are the meat of the piece.
This was only the second film directed by William Peter Blatty. The first being The Ninth Configuration from 1980 which Blatty once considered the real sequel to The Exorcist despite it’s connection being one briefly seen, unnamed character from 1973 film. Despite such a brief directing résumé, Blatty shows a lot of skill and competency here. This film oozes with creepiness, making it one that’ll twitch your nerves, and keep you jumping. There is one particular sequence featuring a white gown and a killer musical stinger that’ll freak you out. Just thinking about it gives me the chills. No matter your own opinion of the film, this sequence will get you every time.
The musical score by Barry De Vorzon is quite fitting, and immensely effective. I was previously familiar with his haunting and intense score on the cult urban action film The Warriors, which was very much of its time in the late 70s. The Exorcist III score is much more traditional, but still haunting as well as chilling. It makes itself essential to building the atmosphere of the picture.
The director of photography, Gerry Fisher, gives this picture great composition and an amazing look in certain scenes. Every time the film ventures into the isolation chamber, the lighting is so beautiful in an exceptionally dark and eerie fashion. Fisher previously lensed the fantasy adventure classic Highlander with amazing artistic talent, and wonderful composition. The Exorcist III doesn’t call for anything as epic as Highlander, but the artistry is still beautifully evident. He definitely gives the film a visual impact that lasts.
There are some discrepancies between the original 1973 film and this sequel. Likely, these are due to Blatty focusing more on his original novel source material instead of Freidkin’s feature. The primary issue is that, in The Exorcist, Kinderman and Karras barely knew each other. They meet for one conversation for their first meeting ever, and are never seen together again. Here, it is heavily referenced that the two men were best friends, and knew each other quite well. It’s that friendship which drives Kinderman’s intense investigation, and motivates the plotlines along. I have not read Blatty’s novels, and so, I cannot confirm or speak to any of this speculation. However, considering he is the author, screenwriter, and director, it’s easy to conclude that these are character connections he always intended in some form or another. Other issues are easily resolved. The year of when the events of the first film occurred has been altered to 1975, but there’s nothing in the first film to conflict with this. Just the fact that it was released in 1973 is all that causes any issue at all.
Overall, I feel The Exorcist III is an amazingly well done film, and only the interference of Morgan Creek executives diminished and hindered Bill Blatty’s vision. Paul Schrader and Renny Harlin would also learn of this over a decade later when filming their respective prequels to The Exorcist, and Blatty blamed no one but Morgan Creek for both versions’ failures. A director’s cut of The Exorcist III is apparently never to surface due to Morgan Creek being unable to locate the footage. Still, despite these obstacles and tampering with the film, I honestly feel an effective, original, enthralling, and exceptionally satisfying horror film shines through. Blatty showed great talent and competence in both scripting and directing, and George C. Scott’s performance is a powerful and intense as you’ve come to expect from him. Ultimately, this is a great surprise considering the more maligned entries in this franchise (save the original), and is indeed one hell of a terribly creepy film. This is a horror film I can watch just about anytime and be pulled into every time. This is what has gradually made it a strong personal favorite of mine which I would also consider one of the best horror movies ever made. If for nothing else, it’s a good watch for a dark, lonely night.