The Exorcist: Believer - A Frustrating Misstep in the Legacy of a Horror Classic

Checking expectations at the door

As one of the most iconic and influential horror franchises in cinematic history, The Exorcist series has left an indelible mark on the world of cinema. Since the release of the original film in 1973, it has become synonymous with supernatural horror and has continued to captivate audiences for decades. It’s no surprise that the franchise has undergone numerous adaptations and sequels, nor that Universal would be interested in rebooting such a notable intellectual property. It’s essential to acknowledge the enduring cultural impact of the original before even discussing if the newest entry is a worthy addition to the long-running series. The 1973 classic garnered several Academy Award nominations and became one of the highest-grossing horror films of all time, paving the way for countless imitations and reimaginings. Not too much pressure for the new movie, right?  

New franchise, new problems

The Exorcist: Believer is directed by David Gordon Green, the same creative mind behind the successful reboot of the Halloween franchise. Given Green’s track record with Halloween, expectations were high for what he could bring to The Exorcist. However, while Green’s Halloween brought a fresh perspective into a dormant series, The Exorcist: Believer fails to replicate that success. The movie’s premise follows a familiar formula: a young girl possessed by a malevolent force and the efforts to exorcize the demon. Unfortunately, it falls short in several critical aspects that made the original Exorcist so compelling. 

While Green successfully revived the character of Laurie Strode in Halloween, the return of familiar faces in The Exorcist: Believer lacks the same impact. Without giving away any important details, these characters feel underutilized and fail to contribute anything meaningfully to the narrative. 

The film struggles to introduce and craft a captivating set of new characters. It treads on the well-worn territory of the sub-horror genre of exorcism without introducing an innovative or thought-provoking story line. 

One of the reasons the original stands the test of time is due to the shockingly bad-mouthed demon that possesses Regan. It was jaw droppingly explicit for 1973 and still to this day would cause any viewer to grimace at the colorful language coming out the mouth of a 12-year-old girl. Fast forward to The Exorcist: Believer and not only are the scares disappointingly scarce, but those very shockingly memorable moments that are featured in the original are conspicuously absent.  

Identity crisis

These reasons only further contribute to the most significant flaw in The Exorcist: Believer, the inability to capture the essence of what an Exorcist film should be. A perfect example of this is the film’s annoying obsession with the snapping of photos. From the moment the camera starts to roll to the last shot there is a non-stop barrage of characters literally taking pictures to try to add a layer of scares. The problem is that these scenes don’t add anything to the narrative or serve a purpose to the greater story, they are simply there to try to add unpredictability and unease. 

Speaking of trying to add unease, the classic musical score that plays such a pivotal role in the original’s atmosphere, is underutilized here. There are numerous instances where Believer would have benefited from using the familiar score. It’s ironic that the original score is so underused, because it is evident that Green struggled with breaking away from all the other familiar tropes and cliches associated with the exorcist brand. Rather than daring to venture into uncharted territory and infuse the narrative with new, innovative ideas, Green chooses to direct cautiously, ultimately settling for a safe and generic compilation of the franchise’s greatest hits.

Reasons to watch

Though there’s clearly much to critique, it’s not all a painful visit to the local cinema. It takes two full acts for the exorcist scenes to finally begin, but once they do, they are entertaining and visually engaging, showcasing the film's potential. 

Ellen Burstyn’s return to the franchise is a welcome touch, offering a sense of continuity with the original film. Her return as Regan’s mother is even more impressive considering Burstyn is 90 years old. While her presence is fleeting, the story line offers a satisfying call back for fans of the original. 

Burstyn’s acting provides a level of pedigree that automatically elevates otherwise serviceable acting from the rest of the cast. These facts only make this viewing experience even more frustrating as all the ingredients are present for a successful continuation of the series. 

Bottom line

By the time the credits roll, The Exorcist: Believer’s two-hour runtime feels like a cheap, slow-moving, carnival haunted house ride that thinks it’s a state-of-the-art, high-speed, adrenaline filled roller coaster. It is lacking the emotional depth, suspense, and terror that should accompany such a franchise. David Gordon Green’s involvement may have breathed new life into “Halloween” but here, it’s a reminder that not all classic horror franchises are easily resurrected.