Classic Movie Review The Exorcist

The Exorcist (1973)

Directed by William Friedkin 

Written by William Peter Blatty 

Starring Ellen Burstyn, Max Von Sydow, Lee J. Cobb, Jason Miller 

Release Date December 26th, 1973

Published October 10th, 2023 

The first image you see in William Friedkin's The Exorcist is the sun, bright, orange, dawning a new day. This is followed by an image of a sweltering desert in Northern Iraq. On the soundtrack is Arabic music. What does any of this tell us about the rest of the movie we are about to watch? I would argue, it tell us nothing. The sun doesn't have any meaning related to the rest of the movie. Nor does a sweltering desert. Perhaps if I reach beyond logic, I could argue that the sun and the desert reflect the heat of Hell? Maybe? But that is a very big stretch. 

An archaeological dig is occurring in this northern Iraqi desert. Numerous men swing pickaxes and other implements intended to break rock and remove dirt. Why? We can assume it has something to do with ancient religion, an attempt to uncover something lost to time. Here, William Friedkin lingers over the images of Iraqi men with their tools, the dirt, the heat, is this a representation of what hell is like? What does it mean that Friedkin's stand in for Hell is located in a Muslim country? What does this have to do in any way with a child who later stab herself in the crotch with a crucifix? 

An elderly white archaeologist is called to come to a place where some small items have been found. The old man goes and when he reaches into the cave where these small items have been found, he finds one more, a small idol with what appears to be the face of a dog or a dragon or something. We don't know who this old man is at this point, but we stay with him as he goes to a café and has some tea. He's shaky, he takes pills for what I assume is a heart condition. He appears shaky though whether that is due to having found this idol thing or because he's very old and has been working in the hot sun all day, is unclear. 

The shaky old dude leaves the café. He walks around the corner and sees three blacksmiths hard at work, rhythmically pounding away at a piece of hot metal. One of the men turns to the old man and reveals a cloudy eye. The old man, our seeming protagonist wheezes, and the scene ends. Cut to a ticking clock. The old man mumbles 'Evil against Evil.' Finally, we learn that the old man is a priest as the other man in the room refers to him as 'Father.' The clock on the wall stops and the man says he is sorry to see the old man leave. Father tells the man that he has something he must do. The old man goes back to the archaeological dig site, he locates a statue, one that resembles the small idol he found earlier. A man kicks some rocks, dogs fight, Father stares at the statue, we fade to the sun which ends the scene and takes us to Georgetown, Virginia, USA, the setting for our story. 

Why does William Friedkin's The Exorcist begin with this prologue? What have we learned? Father Merrin (Max Von Sydow) was in Iraq. He found an idol and stared at a statue. The idol and the statue are related. By the rules of storytelling then, this demonic figure that Father Merrin found must be related to the possession of young Regan O'Neill (Linda Blair). There is one, relatively inane visual scene that links Iraq and the idol to Regan and Georgetown. Following the offscreen death of a filmmaker who was directing a movie Regan's mom was working on, a Police Detective (Lee J. Cobb) finds what looks like an idol just like the one Father Merrin found in Iraq. 

Find my full length review at Horror.Media 

Movie Review The Exorcist Believer

The Exorcist Believer (2023)

Directed by David Gordon Green 

Written by David Gordon Green, Peter Sattier

Starring Leslie Odom Jr, Ann Dowd, Ellen Burstyn, Jennifer Nettles

Release Date Friday, October 6th 

Published October 9th, 2023 

The Exorcist Believer stars Leslie Odom Jr. as Victor Fielding, a single father and photographer. Victor's wife died in child birth while the couple were traveling in Haiti some 13 years ago. Angela (Lidya Jewett) appears to be a relatively good student, follows the rules, rarely finds trouble. Then, one day after school, Angela doesn't come home. What we know, that Victor doesn't know, is that Angela and her best friend, Katherine (Olivia Marcum) have decided to go into the woods to see if they can contact Angela's late mother. Then, the girls vanished. 

After three agonizing days for Victor and for Katherine's parents, Miranda (Jennifer Nettles) and Tony (Nortbert Leo Butz), the girls are found hiding in a farmhouse not far from their school. The girls believe that they have only been gone for a few hours and they cannot account for three days. Nothing appears to be physically out of sorts with the girls but they are slowly descending into madness. Angela starts convulsing and cursing at her father and Katherine soon after follows suit. 

Both girls soon end up back in the hospital where they had been treated and released in the immediate aftermath of their disappearance. This time however, no one knows what could be wrong with either girl. They have the same symptoms and they present the exact way. Both girls appear to be possessed by demons and Victor, not being religious, has no idea what to do. Luckily, Victor's neighbor is a nurse, and when she sees the state of Angela going to the hospital, she leaps into action. 

Through Ann, we are reintroduced to Kris O'Neil (Ellen Burstyn). Luckily for Victor, she lives in driving distance of his home. In the years since she witnessed the aftermath of her daughter's exorcism, Kris O'Neill dedicated her life to hiding her child from the world. This works for a little while, but when she joins this story, Kris and her daughter haven't spoken in several years. Kris has written more than one book about her daughter's possession. She has unique insight into the rituals and she may be the person who knows how to rescue the children. 

And then, she gets stabbed in both eyes and is out of the movie. Honestly, it's as if Ellen Burstyn were simply padding her retirement years with the biggest paycheck she can get her hands on. A woman of her age and dignity should not have to waste her time playing a character who exists solely for name value and nebulous familiar references to things from previous versions of The Exorcist franchise. It would be pathetic if it were not for how dignified Burstyn is, even as she's rushing out of the door of the movie as soon as she can. 

Find my full length review at Horror.Media

Movie Review: W

W. (2008) 

Directed by Oliver Stone 

Written by Stanley Weiser

Starring Josh Brolin, James Cromwell, Elizabeth Banks, Ellen Burstyn, Scott Glenn, Thandie Newton

Release Date October 17th, 2008

Published October 18th, 2008

The best satire that Oliver Stone could bring to his latest controversial effort, W., was to quote his subject accurately. President George W. Bush is as well known for his verbal gaffes as he is for his Bush doctine of pre-emptive war. Quoting the President accurately Stone gets unintentional humor from a situation that isn't really funny in context.

The first ever film biography of a sitting President, W. stars Josh Brolin as both the young brash alcoholic George Bush and the faithful man who fought to get out of his father's shadow and become first Governor of Texas and then President of the United States.

It's a performance of great humor, warmth and humanity that, though it will not change perceptions of the President, it will give even his most ardent critics a look at a man they might not have expected. Directed by Oliver Stone, W. cuts back and forth in time from a young George Bush at Harvard to a confident chief executive who makes gut decisions he believes in without second guessing himself.

If you are someone who believed that Dick Cheney pulled the strings behind the scenes you will be surprised how the President kept the man he refers to simply as Vice in line. Richard Dreyfuss captures the Vice President with a perfect Cheney sneer and without any hint of the mustache twirling villain that so many perceive him to be.

Jeffrey Wright has the most dramatic turn in the film. Playing General Colin Powell, Wright is the voice of reason on the war in Iraq. A good soldier who does his President's work at the UN but privately argued vigorously over the propriety of a pre-emptive war including a dramatic rendering of his "You break it, you bought" analogy to the Iraq war.

Thandie Newton earns some of the films biggest laughs as Condoleeza Rice without ever actually saying anything funny. Her exceptional impression of Rice's voice is both an impressive piece of mimickry and a very funny unintentional send up. Scott Glenn, Bruce McGill and Toby Jones round out the main cast with spot on takes on Donald Rumsfeld, George Tenet and Karl Rove respectively.

For those who presume W. is an attack on the President you likely can't be swayed. All I can tell you is what I believe and I believe that W. is relatively fair to the President even at its most satiric and biting. The best satire of President Bush is to quote him accurately and many of his most famous quotes are in the movie and get the biggest laughs. "Misunderestimate", "Strategery", "Fool me once shame on you Fool me twice.. you shouldn't fool people".

The best example of of Oliver Stone's fair appraisal of George W. Bush comes in the demonstration of the President's faith which is dealt with head on, without commentary. Stacey Keach is tremendous in the role of President Bush's spiritual advisor Earl Hudd.

The President turned his life around after being born again and it created in him the drive and determination to rise from a troubled youth to commander in chief. Oliver Stone observes the change without mocking, without commentary but with the same clear eyed take on faith that the President himself likely carries.

The most controversial aspect and the one with the most artistic licence is Stone's psychoanalytic approach to George W's relationship with his father, the man he calls Poppy. Stone portrays much of George W. Bush's life being driven by being in and trying to escape from George H.W Bush's shadow.

Whether the President has daddy issues is debatable but James Cromwell and Josh Brolin strike extraordinary chemistry in their father and son exchanges. The relationship is realistic if not historically accurate. It's also undeniably compelling and dramatic.

W. will not change anyone's position on President Bush, whose legacy is likely sealed with most of us. What it does is take the history of the Bush administration from insider accounts and public records and condense them into a believable ordering of history and in that is valuable,

That it is also quite humorous without trying is a byproduct of that history. President Bush's foibles are as much apart of the man as his faith and his father and Oliver Stone brings it all together with great artistry and craftsmanship.

Movie Review: The Wicker Man

The Wicker Man (2006)

Directed by Neil Labute 

Written by Neil Labute 

Starring Nicolas Cage, Ellen Burstyn, Leelee Sobieski, Frances Conroy

Release Date September 2nd, 2006

Published September 1st, 2006

Director Neil LaBute's war of the sexes examinations of the male-female dynamic are some of the most caustic and elucidating treatises on men and women thus far brought to the screen. His In The Company of Men, Your Friends, and Neighbors and The Shape of Things are withering, gut wrenching contests of highly neurotic will. Each film a wringing of the writer-director's psyche on to the screen. To this point in his career LaBute had avoided simplistic metaphor in favor of the raw examination of his feelings of insecurity and inferiority.

For his latest film, however, LaBute has waded neck deep into the muck of a loaded metaphor. In The Wicker Man, a loose remake of 1973's horror thriller of the same title, LaBute places his battle of sexes inside a dopey thriller plot that any other director could have pulled out of his ass. Working uncomfortably within genre constraints, Labute chafes at his thriller plot which crowds out the more interesting ideas about men and women that he desperately crams into into sides of the picture.

Thus The Wicker Man becomes a dippy hodgepodge of thriller cliches and mixed metaphor. But mostly, it's  a tedious trip to the movies.

Edward Malus (Nicolas Cage) just received a letter from his ex-lover Willow (Kate Beahan) and was rather shocked at the content. This women he loved; who disappeared without saying goodbye some years earlier, is calling on him to come to a remote island off the coast of Washington state where a girl who may or may not be his daughter has gone missing.

Making the journey to the island, Edward encounters a society of women who worship nature and dominate the men of the island who are seemingly slaves. Lead by Sister Summerisle (Ellen Burstyn); there is a distinctly creepy vibe to this little cult despite the gentility of most residents.

Searching for the child Edward is stonewalled by everyone as someone is tries to make it seem as if the child never existed. The truth is a sinister twist you can likely see coming even if you have never seen the original 1973 Wicker Man. The only real shock you may get from The Wicker Man 2006 is in the credits when you see this dull witted, plodding mess is directed by the usually tart and ingenious writer-director Neil Labute.

Based on the British cult classic; The Wicker Man was reimagined by Neil LaBute as an examination of a society dominated by women. The female of the species have always fascinated LaBute whose debut picture In The Company of Men examined a pair of misogynists who take advantage of a beautiful blind woman only to have her destroy them. Your Friends & Neighbors was yet another navel gazing assessment of male female dynamics.

LaBute's most intense, and I think telling, portrayal of women was 2003's The Shape of Things in which a nerd, played by Paul Rudd, is reshaped, literally and figuratively, by a woman played by Rachel Weisz. The change in the nerdy exterior of Rudd's character is eventually revealed to be a large scale social experitment by Weisz's ambitious college student. This film exemplifies an idea that comes a little clearer in The Wicker Man, Neil LaBute is afraid of the power women wield over men.

Women can drive men to do anything in Neil LaBute's universe and men are ill equipped to stop them. In The Wicker Man all of the men of the island exist as breeding stock and nothing more. Cage may be an alpha male but he is naturally undone by the far more clever women who, even though their devious plot is too convoluted to be believed, control his every move.

This idea of LaBute examining his fear of women through a thriller story about a cult of powerful women is interesting but that is not really what we get in The Wicker Man. Rather, what came of the picture is a dull mystery about a dopey tough guy and a search for a missing girl that has all of the suspense of a David Spade movie.

Is it possible that Neil Labute lost control over this picture in the editing room? Given the exceptional talent he has shown in the past that is really the only explanation I can think of for the odd shifts in tone in the picture and the uncomfortable attempts to force suspense where none exists. A scene where Cage seeks a place to stay for a night finds Cage overacting and gesticulating in a vain attempt to give the scene some tension when in fact it is just a guy checking in to a slightly off-kilter inn.

Neil Labute is simply too talented to have crafted such a mess of a movie like The Wicker Man.

Nicolas Cage as a cop hunting for a missing girl on a remote pacific northwest island is the bare bones of a plot that includes references to the occult, to witchcraft, and druidism. Unfortunately, somewhere in the editing, the film became about the search for the missing girl, a red herring of immensely stupid proportion, and not about these eccentric and downright weird characters.

Neil LaBute, a master of dialogue and conniving characters, here settles for a mystery story that eschews any real examination of the characters. He sets up metaphors but never delivers the true subtext. You can infer from the fact that the island is home to a cult dominated by women with men kept as breeding stock; that LaBute is commenting subtextually about the power of women over men. However, LaBute never takes the time to examine the dynamic. All is inferred then shoved aside for more thriller genre goofiness.

The Wicker Man is a shockingly goofy movie that leaves one scratching his head; wondering how such talented people as Nicolas Cage and Neil LaBute could have made such a stunningly bad picture. The ambitions of both Cage and LaBute are visible around the edges but front and center is sheer goofiness that leaves its cast and creators with egg on their faces.