It began with Ingmar Bergman’s “Cries and Whispers,” and it closed with William Friedkin’s “The Exorcist.” Both films are about the weather of the human soul, and no two films could be more different. The Exorcist III (Exorcist 3) (1990) Review Related: [ Movie Details/Trailer / Full Poster ] William Peter Blatty (writer of The Exorcist (1973) , Fox’s The Exorcist Season 1 ) directed The Exorcist III (1990) which plays out entirely different than what we have seen before.

The lady and I make a point to watch it every year on the spookiest night we can.

Barry DeVorzon's original score added more scare and is also probably the best of the franchise, ironically the soundtrack is still unreleased to date. “The Exorcist” is one of the best movies of its type ever made; it not only transcends the genre of terror, horror, and the supernatural, but it transcends such serious, ambitious efforts in the same direction as Roman Polanski’s “Rosemary’s Baby.” Carl Dreyer’s “The Passion of Joan of Arc” is a greater film--but, of course, not nearly so willing to exploit the ways film can manipulate feeling. The performances are in every way appropriate to this movie made this way. Exorcist III may not have the visceral impact of the first film, but it gives viewers far more than they had any reason to expect. Read honest and unbiased product reviews from our users. “The Exorcist” does that with a vengeance. Even in the extremes of Friedkin’s vision there is still a feeling that this is, after all, cinematic escapism and not a confrontation with real life. The Exorcist III is in fact the only entry in the franchise that really scare the s**t out of me. And the casting of Max von Sydow as the older Jesuit exorcist was inevitable; he has been through so many religious and metaphysical crises in Bergman’s films that he almost seems to belong on a theological battlefield the way John Wayne belonged on a horse. There is a fine line to be drawn there, and “The Exorcist” finds it and stays a millimeter on this side.

Sidney Poitier’s 7 Most Memorable Performances, All Harry Potter Movies Ranked Worst to Best by Tomatometer. and the Terms and Policies, Many of the technical and theological details in his book are accurate. As always both George C Scott and Brad Dourif are absolutely brilliant and the directing is actually very fine for someone who wasn't a director (since. Bergman’s exploration of the lines of love and conflict within the family of a woman dying of cancer was a film that asked important questions about faith and death, and was not afraid to admit there might not be any answers. Some boring unnecessary sequences are going to decrease the overall rating but that's nothing to be mad about. That does not make it evil, but it does not make it noble, either. That it received an R rating and not the X is stupefying. The original Exorcist obviously stands out a bit more for Linda Blair’s performance and make-up FX. Linda Blair, as the little girl, has obviously been put through an ordeal in this role, and puts us through one. Joker83 October 11, 2014 at 11:09 am ... Exorcist 3 is one of my favorite Halloween movies. But that's mainly because everything that comes before it is so hauntingly understated. Rotten Tomatoes, home of the Tomatometer, is the most trusted measurement of quality for Movies & TV. Never for a moment--not when the little girl is possessed by the most disgusting of spirits, not when the bed is banging and the furniture flying and the vomit is welling out--are we less than convinced.

If movies are, among other things, opportunities for escapism, then “The Exorcist” is one of the most powerful ever made. I guess so; in fiction the artist has poetic license. The Exorcist III has the feel of a nightmare catechism lesson, or a horror movie made by a depressed monk. Read full review [18 Aug 1990, p.C3]. As always both George C Scott and Brad Dourif are absolutely brilliant and the directing is actually very fine for someone who wasn't a director (since The Exorcist III is in fact the only entry in the franchise that really scare the s**t out of me. The story is well-known; it’s adapted, more or less faithfully, by William Peter Blatty from his own bestseller. Now Playing: The Exorcist III: Look At Me! [George C. Scott] delivers a soulfully pained performance as detective Kinderman from the first movie.

The first time I saw “Cries and Whispers,” I found myself shrinking down in my seat, somehow trying to escape from the implications of Bergman’s story.

Watching The Exorcist III is a frustrating experience, with both cuts of the film - one a victim of studio tampering, the other imperfectly restored - pointing to the better version of themselves that, like Karras, remains hidden within. Friedkin has the answers; the problem is that we doubt he believes them. Our objections, our questions, occur in an intellectual context after the movie has ended. Brad Dourif's full performance as the Gemini Killer. The Exorcist III is in fact the only entry in the franchise that really scare the s**t out of me. The Exorcist also has that effect--but we’re not escaping from Friedkin’s implications, we’re shrinking back from the direct emotional experience he’s attacking us with. Log in to Reply. Yet each in its own way forces us to look inside, to experience horror, to confront the reality of human suffering. I am not sure exactly what reasons people will have for seeing this movie; surely enjoyment won’t be one, because what we get here aren’t the delicious chills of a Vincent Price thriller, but raw and painful experience. La única y mejor secuela de la saga, aún si se tratara de una película aparte, se sostiene perfectamente por sí sola, buenas actuaciones, buena historia y pese a que es más Thriller que Terror, logra tener momentos aterradores. The director's cut (titled The Exorcist III Legion) is superior on many points, but the theatrical version is still a very good version. Is this fair? I’ve always preferred a generic approach to film criticism; I ask myself how good a movie is of its type. [20 Aug 1990], You strain to hear mumbled dialogue at times, and there's no sense trying to making sense of it -- but Exorcist III is not half-bad terrible psychological thriller junk entertainment. There’s a striking image early in the film that has the craggy von Sydow facing an ancient, evil statue; the image doesn’t so much borrow from Bergman’s famous chess game between von Sydow and Death (in “The Seventh Seal”) as extend the conflict and raise the odds. The last chapter of the novel never totally explained in detail the final events in the tortured girl’s bedroom, but the movie’s special effects in the closing scenes leave little doubt that an actual evil spirit was in that room, and that it transferred bodies. Review aggregate website Rotten Tomatoes has reported that 59% of critics gave the film positive write-ups based on 41 reviews, with a rating of 5.43/10, with the consensus: "The Exorcist III is a talky, literary sequel with some scary moments that rival anything from the original". Some sequences are just creepy as hell. It began with Ingmar Bergman’s “Cries and Whispers,” and it closed with William Friedkin’s “The Exorcist.” Both films are about the weather of the human soul, and no two films could be more different. Against his will, Blatty added the sound-and-fury finale, and it's easily the weakest aspect of his movie. And Friedkin has admittedly given us a good one. Meh. The Exorcist III is in fact the only entry in the franchise that really scare the s**t out of me. All rights reserved. It’s watchable at least. [28 Sep 1990, p.6], What's shocking about The Exorcist III is that it's a civilized albeit undemanding entertainment, more Hitchcock than Medicine may have, but the movie hasn’t. We see the "spider walk," an infamous scene much discussed by "Exorcist" buffs in which Regan is seen walking downstairs upside-down, crab-style. The film is a triumph of special effects. I’m not big on Exorcism films because I just don’t find these scary, but redundant. It’s watchable at least. © 2020 CBS Interactive Inc. All rights reserved. The year 1973 began and ended with cries of pain. Read honest and unbiased product reviews from our users. This third entry doesn’t try to rehash the original and stands on it’s own, yet still shares similar themes and characters. Get the freshest reviews, news, and more delivered right to your inbox! A good chunk of The Exorcist III is taken up by a series of sit-down chats; close-ups of Scott's ugly mug are the only half-frightening thing on the screen. The difference, maybe, is between great art and great craftsmanship.

Ellen Burstyn, as the possessed girl’s mother, rings especially true; we feel her frustration when doctors and psychiatrists talk about lesions on the brain and she knows there’s something deeper, more terrible, going on. This one's a thousand times better than the weenie Exorcist II: The Heretic they made in 1977. This third entry doesn’t try to rehash the original. To name something is to tame it; Blatty is interested in our eternal struggle with the unnamable. Yet each in its own way forces us to look inside, to experience horror, to confront the reality of human suffering.

Dan Boersma The Bergman film is a humanist classic.

The film contains brutal shocks, almost indescribable obscenities. Get a list of the best movie and TV titles recently added (and coming... What to Watch Now on HBO Max and the HBO App, Music title data, credits, and images provided by, Movie title data, credits, and poster art provided by. Copyright © Fandango. This movie doesn’t rest on the screen; it’s a frontal assault. The Friedkin film is an exploitation of the most fearsome resources of the cinema.

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