When two girls disappear and return three days later seemingly possessed, the father of one girl seeks out Chris MacNeil, whose daughter went through a similar ordeal fifty years ago.
Director-writer David Gordon Green faces an uphill struggle and makes sone of the same mistake as the prequels. The Exorcist has been parodied and copied so much that the monster makeup, replaced voices, head-turning, familiar dialogue, and effects lose their impact and chills. It needed real-world delicacy and precision. A documentary gorilla film style would have lent the film a sense of realism, but Green, along with writers Peter Sattler, Scott Teems and Danny McBride deliver more of the same Conjuring-like style instead of offering the backbone of the source material: the inconsequential subtlety, and imagery that was. What you get is another spectacle-driven film, with drama and world-building overshadowed by the elaborate possession scenes.
It may lack '70s grit and the chills of the third, but Michael Simmonds' moody cinematography and Amman Abbasi & David Wingo music score give it some weight. Nods to the original, eerie flashy images and sound design also help. It's solid enough, even if meandering, if you've never seen another film about exorcisms or possessions. Thankfully, Leslie Odom Jr. As Victor Fielding gives a great performance. Ellen Burstyn is on her usual fine form in her short-lived extended cameo return (with no mention of her acting past) as Chris MacNeil, which is a highlight, even if somewhat a missed opportunity. Photos and mentions of Regan MacNeil is a great bit of fan service along with Linda Blairs heart warming and fitting appearance. This emotional reunion redeems it somewhat.
Possession films are a ten to a penny; a dime a dozen; and sometimes less is more. Believer is pure overkill, which is surprising given Green's more violent but grounded approach to the Halloween offerings.
Overall, what you get is simply another well produced possession film. It's a pitty it wasn't a character driven chiller piece with Chris and Regan MacNeil front and centre.
Director-writer David Gordon Green faces an uphill struggle and makes sone of the same mistake as the prequels. The Exorcist has been parodied and copied so much that the monster makeup, replaced voices, head-turning, familiar dialogue, and effects lose their impact and chills. It needed real-world delicacy and precision. A documentary gorilla film style would have lent the film a sense of realism, but Green, along with writers Peter Sattler, Scott Teems and Danny McBride deliver more of the same Conjuring-like style instead of offering the backbone of the source material: the inconsequential subtlety, and imagery that was. What you get is another spectacle-driven film, with drama and world-building overshadowed by the elaborate possession scenes.
It may lack '70s grit and the chills of the third, but Michael Simmonds' moody cinematography and Amman Abbasi & David Wingo music score give it some weight. Nods to the original, eerie flashy images and sound design also help. It's solid enough, even if meandering, if you've never seen another film about exorcisms or possessions. Thankfully, Leslie Odom Jr. As Victor Fielding gives a great performance. Ellen Burstyn is on her usual fine form in her short-lived extended cameo return (with no mention of her acting past) as Chris MacNeil, which is a highlight, even if somewhat a missed opportunity. Photos and mentions of Regan MacNeil is a great bit of fan service along with Linda Blairs heart warming and fitting appearance. This emotional reunion redeems it somewhat.
Possession films are a ten to a penny; a dime a dozen; and sometimes less is more. Believer is pure overkill, which is surprising given Green's more violent but grounded approach to the Halloween offerings.
Overall, what you get is simply another well produced possession film. It's a pitty it wasn't a character driven chiller piece with Chris and Regan MacNeil front and centre.