The Exorcist III (1990)

I believe in pain, death, injustice, and inhumanity

By: JWBM

Some come into this world with the intention of making a comfortable place or establishing a name for themselves. Others come into this world with the intention of destroying those same hopes and dreams. Some civilized folk form a fragile life for themselves of family, bond, and love. This thing of the shadows shatters all sense of security and spits on anything resembling value or sensibility. We're dealing with an entity void of emotion, compassion, forgiveness, or any shred of what's conceived as "good." It's the antithesis of holy, and filled with a raging fire to make every action come with a personal brand of hate and loathing. It might take someone who's numb and cynical to it all: someone who hasn't gone weak in the stomach, or isn't shy about seeing the world for what it really is to have a chance to fight back.

A lieutenant, William Kinderman, is investigating a series of meticulous murders that make even the most notorious serial killer look like a sloppy amateur. The crime scenes radiate with an ice cold cruelty; as if there's a higher predatory intellect toying with them. This is a story that's the equivalent of staring evil in the face and having it stare back with tormented, unflinching eyes. If you've ever stayed up late pondering what lurks out there waiting for your guard to be down, you will find it here crawling on the ceiling or standing behind you with razor sharp shears. This is evil of the purist kind. Unabashedly profane and blasphemous in every sense: there is no balance to this kind of wretchedness. It's at the far end of the spectrum where your surroundings are pitch black except for glowing red eyes and a dangerous means to expunge any morals in the world. Grab your cross tightly and don't let go, because this is the stuff people question their faith over, not to mention what the most hellish of nightmares are written about.

This could be looked at as a story of black versus white. Though traditional holy tactics don't always work here, nor do all of the staples that unholy means fall back on. It gives it more dynamic than a you're-only-on-the-left-side, and you're-only-on-the-right-side kind of story. Some of us often wonder what the battle of heaven and hell would look like. Visually it's been occasionally depicted as organized chaos. A busy scene of art that is as glorious as it is eye-opening. Each sword finds its mark and each person knows their place and purpose. One aspect these depictions sometimes lack is that real aspect of fear, grit, and cold-blooded savagery that weighs on the back of someone going to war. This film is entertaining first and foremost, though it's also capable of making you look over your shoulder and clench your teeth from a side never before seen or imagined. It's also chillingly relatable: some may recognize the streets here, the familiar language and mannerisms, or even just everyday mundane aspects now looked at as a little jaded. This is your home town. Where else would the battle of battles take place? But to the familiar places we experience.

"The Exorcist III" found itself in a unique position. It's a sequel for one, that came out after a poor excuse for a second movie at that. The first film was groundbreaking in every sense. The second was a pitiful cash grab that failed in more than one way. The author, William Peter Blatty, however, decided to take back control of his creative work and write a sequel to his 1971 book. "The Exorcist III" is based on the novel "Legion" from 1983, and is the true sequel to the first. Admittedly, when I caught this film after the fact in the 2000s I wasn't sure what to expect, but was then blown away at how effective of a horror experience this was. Especially coming out a good 17 years after the first. I've read both books. The first book is on par with the film. Though, with the second book, I feel the movie ended up being more powerful for its sense of putting you in the moment instead of the constant ramblings from Kinderman that were ultimately distracting. In the film they seem to be more balanced out.

There are certain conveniences here to piece together some scenes. That might be the innocence of author-turned-director William Peter Blatty. Though there are so many scenes that lead up to something memorable, not to mention how effective the overall mood is, that I often overlook them. While the film is no doubt littered with atmosphere and symbolism, there is a certain type of dry humor sprinkled in to lighten up the dark portions. Guess it's to make it so your nightmares are a little more cheery than all-out harsh. Kinderman has a thick skin and a sense of sarcasm from being unshielded to the ugliness of the world on a daily basis. If not for his ability to compartmentalize, it makes you wonder how or why he decided to establish a family in this world.

Another aspect that deserves an award in itself is the use of sound effects and suggestions. It's so effective that I have false memories of this being more violent and visually disturbing than what was actually shown. The direction is also daring in that it's not afraid to go there. I mean, other horror films typically have a certain truce or a pause that gives balance, while this makes it so recognizably safe havens are now filled with looming shadows and memories of terror. Anywhere from a church confessional, a hospital, to even your own kitchen after a day's hard work.

The performances by both George C. Scott and Brad Dourif where simply amazing. Some horror films out there are held together or lopsided by the direction, cinematography, effects, settings, or the soundtrack. While this does the same to enhance the experience and fill in the gaps, it also finds itself in a unique position of having excellent acting by the two leads. Scott, as Lt. Kinderman, isn't spewing line after line, though he brings a certain presence and command to the role each time he's on screen. As if he could turn towards the viewer and be commanding enough for them to get up off the couch and do it. Dourif—as the Gemini killer—on the other hand, is nothing but lines, but delivers them with unique emphasis on syllables and with the tone of his voice that it seems to bypass making the little hairs stick up, and dig deeper to chill your bones.

This is a horror film that I wish I made. It's a film that some other films wish they could have been. It broke down a barrier from some '80s films that had shameless, on-purpose trends and what-was-happening moments, to usher in a wave of horror that felt genuinely horrifying. Recommended in every sense for a truly frightening, enveloping experience that is sure to stick with you afterwards.

Rating: 9.5/10

Director: William Peter Blatty
Actors: George C. Scott, Brad Dourif
Info: IMDB link
Trailer: Youtube link

The Familiar (2009)

Spirits love to torment priests and the innocent

This carries more of a specific Christian lesson and message for the reaffirming-your-faith type of supernatural drama/horror than giving in to more shocking theatrics for regular cinema goers as seen years ago in the '70s with the likes of "The Exorcist" with more effective results. This is the equivalent of their catering budget, so the actual filmmaking experience requires a share of compensating to get through it, not only for resources but also since they cut out a lot of the over-the-top scenarios or anything in the way of titillating to keep the messages more down-to-earth and positive when they arrive. It tries to play both sides of the fence and ends up not being able to share itself equally to where it would be entertaining and also carry something away for the watch.

Sam is a former small town pastor in Oklahoma that has nightmares from a supernatural incident that happened twenty five years ago. Sam and his childhood friend Charlie brought pentagram laced porno mags to their home with demonic results. Five years ago his wife Katherine died under unknown circumstances and he currently drinks away his sadness and sells and shoots guns. He hangs loose with Charlie, who's now the local jolly sheriff, and follows a simple routine until his now-grown-up sister-in-law Laura shows up at his front door step unannounced from wanting a change from city life. Laura is smug and overly confident to the point of stepping over her bounds. Sam turned his back on his faith along with those that want to help, including his friend, his father and his new house guest, though who's coming on strong to the point of literally filing in the cloths of her former sister that she had a falling out with.

Laura mentions her involvement with the Light Seekers: an alternative group that believes in spiritual presences. She's naive and thought one of the spirits was good until she says the name of Jesus and the presence reveals its true black colors with an omnipresent voice that shows its mocking scorn. Already in poor shape himself, Sam tries to help Laura who's beginning to stray but doesn't always have the insight or strength himself. Soon enough she starts to act differently and Sam being lonely gets blinded to the fact that she may be influenced by one of the bad spirits until he's in well over his head and has to make a life altering choice instead of turning his back and feeling sorry for himself. He turned to guns but found something he can't shoot.

"The Familiar" is a measly budget feature that dodges bigger special effects or grossly horrifying or shocking events but tries to instead establish its characters as regular people and have them go through self-destructive mistakes that the viewer might not have to. Yep, it's going to be a life lesson of sorts, which can be appreciated for an effort that carries meaning and relating points. Though what makes the experience a hard watch are the messages come on a little strong, despite a few that hold back or are balanced for the other side; which I'm sure this might still be slightly controversial in the head-stuck-in-the-book Christian community as a result, but nothing like "The Exorcist," for which author William Peter Blatty penned it from a Catholic perspective. At one point the film truly showed its budget when Sam commented to his father at how to stop the evil presence to then cueing "tension" filled music and their supposed "action" scene with boots just kicking over rocks that formed devilish signs. At least they know their limitations.

The message about partaking in premarital sex, looking at suggestive material and exposing your body on camera--no nudity here or actual events shown--are going to fall on deaf ears to a modern, sexually liberated person outside of a smaller town or religious setting already. Soon after giving in to impulses and temptations there are some appearances of random shadows or a creeping camera with red filters--none of which works towards making a viewer flinch, building tension or putting a fright into someone for the transgression. The impression is that a bad spirit is going to immediately show up next time you slip up (no pun intended), so you better watch out! The fear is in you! Compare this to actually showing the possible mistakes and effects and it might have partially gotten through I'd imagine more so. As is, it feels like a reconfirmation and pat on the back for those that abstain already.

The biggest issue here is it becomes a chore to watch as the pacing jumps back and forth and starts to retread over familiar ground. This moves along in a revolving circle that, instead of creating captivating drama or interesting scenarios, has tendency to drift along or jerk with some unsmooth transitions. Its sense of mystery doesn't always carry punch with how the wife actually died or who the elusive "cousin" Rallo is. This would have worked much better as a shorter feature as it feels padded and stretched out than being moment by moment engaging.

The dialogue feels obvious and the performances are stifled in areas as if they're playing catch up than always speaking their lines with command. When the dialogue isn't telling the viewer what to think or feel, the reverbed out piano montages with sad and extended violins typically cue up in case the tone or meaning was somehow missed. Bryan Massey, who plays Sam, doesn't carry his own with the various transitions of the story: little backing power with expressions, to then the next overstepping what was called for. How the character of Laura transforms from her normal self to possessed often comes with conflicting results. Instead of giving a gradual change over, it's not even made sure of which was ever which till a final blatant stand off scene where the spirit speaks through her and is more effective to capture the moment and your attention. But that might have been because whatever happened before it didn't stand out by much in comparison.

Rating: 3/10

Director: Miles Hanon
Stars: Bryan Massey, Laura Spencer, Jeff West
Link: IMDB

The Devil's Tomb (2009)

Lose the gun soldier and grab a cross

A classified research/archeological station was hit in the desert by an unexplained event. A team of military specialists headed by a Captain Mack (Cuba Gooding Jr.) are instructed by a C.I.A. operative named Cardell (Valerie Cruz) to extract a Dr. Lee Wesley (Ron Perlman) who was seen prior on a security feed with an ambiguous, almost prophetical speech as to what went wrong. Right when they arrive the team encounters an unresponsive priest with unexplainable sores. They head down to a safe room that might house Wesley but come across more strange characters, including another man named Duncan (Bill Moseley) who's off of his rocker with religious tirades. They try and get out but something evil keeps pulling them deeper and deeper back in until they find something out that's above their regular duty as soldiers and is as old as mankind itself.


This plays out something like a second rate "Prince of Darkness" except with military involvement instead of college students to represent victims. For a share of the beginning half the events are conflicting enough as to lose the audience in its hidden meaning, with unexplained inflictions, hallucinations and zombie like people who spit out a fluid that infects others. It feels like a blender of ideas from other horror movies thrown into one except without looking back and measuring them out to fit snuggly to their own story. There are some gory scenarios that occur but the horror angle is far from terrifying. Yeah, shooting at something you can't kill outright or your own team turning on each other is alarming but the way it happens is treated in such a random, unchallenging way as to lose impact. The majority of the characters you could care less about, so when someone does get scared, wounded or killed you can't help but wish they all would. Former Black Flag front man Henry Rollins shows up as a priest named Fulton who seems to be the midway "answer guy" that acts all skittish and only gets in the way. They move from one unmemorable room to the next, sometimes drawn out from the pack as a form of recruitment to the other side. Some of these scenarios include temptations of sex that leads to violence as if they're linked by nature.


There are some quips and banter among the soldiers as if they're nothing but immature teenagers and this is just another bs job that's taking up their precious time. Words like "professional," "intuitive" or "stand up character" are from qualities listed on their resumes. This has some jumpy shifts back and forth between seriousness and joking. The jokes make this more easy and uncomplicated, but some of the transitions to grave matters feel somewhat unpracticed and unrehearsed prior, as if they rushed through this without giving it a moment's pause for reflection. With this many well known names included this surprisingly ended up being an incredibly generic, formulaic movie. I thought it would have had a little more merit than this--something like a lower budget "The Predator" where the action is heart racing and the villains are intimidating and frightening. Or at least give enough elements of amusement to let yourself go. The story itself wasn't the worst part and there are a few worked up scenes that stick out, it was just the overall execution that felt like it was done in passing and as if a share of the people involved didn't take it seriously beyond their contracts and obligations.

"The Devil's Tomb" can't always shake the cliche it walked into. The dialogue can go from preplanned sounding to made up on the spot. Stephanie Jacobson and Ray Winstone just can't escape their accents here with every other word distractingly echoing their homelands. Cuba Gooding Jr. feels like he fell asleep at the wheel and took on the personality of the rock he hit with little passion, conviction or believable command--not sure why he seems so tame and uninspired here compared to his past roles. His character is given flashbacks to a prior event that leads up to its close like bread crumbs for a roundabout message but lost its impact when it feels slipped in as an after thought.

Rating: 3/10

From Black to Red recommends instead: "Prince of Darkness." This John Carpenter film revolves around a secret artifact within a church and a team sent in to investigate.

Director: Jason Connery
Stars: Cuba Gooding Jr., Valerie Cruz, Stephanie Jacobsen, Taryn Manning, Ron Perlman, Henry Rollins, Jason London, Bill Moseley
Link: IMDB

Drag Me to Hell (2009)

A bank robber has nothing on a gypsy

"The Evil Dead" series filmmakers return with a long awaited horror feature that includes some throwback hints to older, more basic horror/thrillers, though with some modern touches such as frequent use of CGI and the convenience of cell phones. "Drag Me to Hell" still feels its own movie than just a token homage film. It's a PG-13 feature in its theatrical run that dodges sex and gore and replaces it with built up shocks combined with a gross out factor that's enough to make one buy mouth rinse afterwards due to all the nasty things landing in the lead actress's mouth. This skirts the edges of an almost whimsical tone between seriousness and tongue-in-cheek humor similar to Raimi's earlier pictures that makes the atmosphere both fun and frightening. It's nearly popcorn entertainment all the way through except with a few of life's little road blocks to make the story more relating and personable.

Some 40 years ago in California, a Spanish boy stole a necklace from a gypsy and is being followed by a spirit. His parents bring him to a young psychic who gets defeated by what turns out to be a powerful demon. In the present day, a young and upstarting career woman with a tubby, tom boy past now handles loans at a bank and is competing with a co-worker for a higher position. In an attempt to become a go-getter, Christine turns down an extension for an elderly woman with an east European accent named Sylvia Ganush. Ganush is shamed and wants payback in the form of attacking Christine in a woman vs woman parking garage rumble that leaves the younger one laying on the concrete dazed and with a wrecked car to show for it. Soon afterwards Christine feels she is being followed by something unexplainable after some mysterious words were spoken by Ganush over a personal item of hers and she seeks out help in the form of a new age psychic to her practical boyfriend Clay's protests. Christine tries to get her life back in order with Clay now warming up but can't explain the random occurrences that come in the form of hallucinations and haunting nightmares. This is a curse that gradually builds up and torments the person, only to consume their soul unless something is done about it...but at what sacrifice?

"Drag Me to Hell" is a story about the damning of an innocent young woman who has to prove she has spirit in her to stay afloat above the ordeal with the supernatural element as well as with the human interaction in her day to day life. She doesn't exactly deserve it but it goes to show it can happen even to the nicest of us. The message being: once you play with fire, you best be ready to take the heat that follows. This did well by incorporating elements for both the believer and non-believer of the uncanny: coincidence in some areas, to outright show-and-tell in others. The story itself isn't the most original but the experience on the other hand unfolds with a share of memorable and inventive scenarios that are over-the-top enough at times to make this more movie than actuality but still engrossing nonetheless. Some of the moments of seriousness and humor clash at times to be almost cartoonish in contrast, though a large share of this was spot on and managed to still have a sinister atmosphere during certain scenes while at it. Think of something along the lines of "The Frighteners" but still not the exactly the same.


The lead actress, Alison Lohman, manages to keep up with the flow of the script that calls for both the gentle and courageous. Not to mention she also takes a beating in some areas like something you'd see on "Fear Factor." Lorna Raver made the movie as the elderly gypsy villain who you'd rather see hit by a car than help her across the street. The facial expressions she does that contort her already hideous mug gives this film an iconic symbol to remember in the back of your mind. The music unfolds with traditional strings that come with some melancholic melodies mixed with grating high notes to translate the uncomfortable creep-ups and sudden shock. The wind and shadows become another character here the way they animate the walls, floors and ceilings to give that trapped feeling that's at every turn.

Rating: 7.5/10

Director: Sam Raimi (The Evil Dead, Darkman, Spider-Man)
Stars: Alison Lohman, Justin Long, Lorna Raver
Link: IMDB

The Rite (2011)

A man's struggle with the immaterial

A mortician's son named Michael wants to pick a different career path away from his father and heads to seminary school to become a priest. He aces psychology and art history but not theology. He decides that after four years he has a lack of faith and sends in his resignation. Before it can be turned in he says last vows to a dying woman and his superior Father Matthew wants him to stay on for another purpose that he might be just right for. He heads to Rome to take a course on exorcism due to the church receiving an alarming number of reports. After viewing the class with some derision, the teacher sends him over to a Father Lucas who's approach is unorthodox and matter-of-fact, but still honest when need be to deal with Michael's questioning, logical mind. Rather than tell with a verbal lecture, he shows right from the moment Michael arrives with a pregnant teenage girl that appears to him as someone with a clear case of mental health. The younger priest-to-be is still skeptical despite evidence before his eyes, yet he keeps returning to see more of the mysterious man who might be the real deal or someone who acts like one so his clients maintain their faith and not go elsewhere for help.

This starts out like a drama, turns into something of a psychological film with some thrills and chills regarding the potential existence of demons, then turns over to a climactic closer when someone close comes down with something and the person at hand has to finally answer a nagging question. Instead of producing a puzzling mystery with enough layers to keep a viewer guessing, this spreads out its plot elements and typically takes on one aspect at a time as it progresses, ending up revealing its formula in the process. That storytelling approach makes this feel more like a luring system till the final scene that has all of its bases covered of what they'll refer to up to that point, rather than a naturally evolving storyline. No one wants a confusing or conflicting film, but I'd be willing to bet others don't want things unraveled so orderly either. In one sense it takes deep subjects and delivers them somewhat easy and unmuddled, yet not always as an engrossing challenge. The performances come with their charms and some street talk despite their holy personas to give a real sense. Anthony Hopkins' captures the screen with a performance that often comes with guesses as to where he stands and he's able to handle the different sides without a hitch. Colin O'Donoghue does the part with some conviction whether it be a logical side or lowering his defensive guard, even if he's shuffled from one place to another in the script. Alice Braga plays Michael's friend whom he shares his thoughts but also reveals who she really is and what she's searching for. His teachers are capable of acting like authentic people either by being lenient and reasonable, to being strict and commanding.

At times the transitions feel too smooth and the answers in the story laid out before the viewer gets time to take them in or throw out guesses themselves, which somewhat limits its participation value. It attempts to be a thinking-person's movie rather than a straight horror/thriller but doesn't always give more to contemplate on during its duration despite its gradual pacing that seems more for tone and mood to make omens and signs match when they come around. This follows Michael rather than mainly the exorcism itself, so essentially its main relating points are targeted more so at that person who straddles the fence on the subject, and the believer getting some validation, though the unbeliever left more to the wayside. So you get a character based film with some horror tacked on for reasons of entertainment and to loosen up the viewer to give an ear for the subject matter, rather than the other way around like "The Exorcist" that's also about losing faith...and possibly scaring it back into you with everything it's got. In that respect this is handled with more tact on the subject than the usual suspects with films dealing with possession.

"The Rite" can be looked at like a man on a religious journey to finding faith, but part of it can still be looked at as someone who does anything without a driving passion or purpose, kind of riding between places until something powerful comes along to question why you're doing what you're doing in the first place. Fighting with half a heart is a sure way to get defeated is the message, because others are going to come around to take that away just because they can. Though it's not to the lengths of watching a sports movie about, say, US football with a player who has the talent and no driving point, as you can usually not be a fan of the sport to see where they're coming from. Usually those films are about the emotional impact surrounding the subject, while "The Rite" reveals more of its inner playbook than tiptoeing around for more relating points to outsiders looking in, which can make the film at points feel a little distant by coming with more of a specific purpose.


Rating: 6.5/10

Director: Mikael Hafstrom (Drowning Ghost, 1408)
Stars: Colin O'Donoghue, Anthony Hopkins, Alice Braga, Ciaran Hinds, Rutger Hauer, Toby Jones
Link: IMDB