Envoûtés

Scary, good thriller about a dangerous faction of Santeria, a Latin-American based religion which believes in animal sacrifice, which here is offerring children as sacrifices in New York. Martin Sheen is very good as a police psychologist who moves to New York with his son after his wife's bizarre death, and must deal with the very strange doings occuring around him. The fine cast includes a younger Jimmy Smits, Robert Loggia, Helen Shaver, and Harley Cross. Director John Schlesinger provides good shocks, and good the movie has a fine late 80's New York feel, even though most of it was filmed in Toronto!

After his wife dies, police psychiatrist Cal Jamison (Martin Sheen) moves with his son, Chris (Harley Cross), from Minnesota to New York City. There, he quickly becomes embroiled in a bizarre string of occult-related murders of children and apparent suicides of adults.

If you enjoyed The Serpent And The Rainbow (1988), Angel Heart (1987) and Rosemary's Baby (1968), there's a good chance you'll enjoy The Believers as well, as it bears quite a few similarities (although it's certainly not a rip-off). In my view, it's not quite as good as those other three films, which are all 10s in my book, but it is well worth watching.

The principle flaw, which probably arises from trying to condense a novel--in this case Nicholas Conde's book, The Religion--into a screenplay, is that The Believers quickly brushes over some developments so that it's occasionally difficult to follow, especially towards the beginning. We can sense that there's much more to the story but that there just isn't time to show all of it to us.

However, a characteristic of the subgenre of occult/voodoo horror films is a prominent surrealism and dream-like narrative flow, so what might be more of a flaw in another kind of film can be more of an asset here. The Believers also benefits from a great cast--Sheen is a delight to watch (and listen to) as a psychiatrist who can fly off the handle in rage at the drop of a hat, and Jimmy Smits is wonderfully insane every time we see him.

The Believers is also worth checking out for its cinematography and set design. The set for the climax is a visual treat and integral to the plot. And the tag scene after the climax is remarkable for its visual change--beautiful, wide-open spaces and bright colors. It's just too bad that the sequel set up by director John Schlesinger never came to fruition.

Cal Jamison (Martin Sheen) loses his wife in an accidental electrocution. He moves with his son Chris to NYC as a psychiatrist for the police department. Jessica Halliday (Helen Shaver) is their landlady. His lawyer Marty Wertheimer (Richard Masur) wants to sue the coffeemaker company. Lt. McTaggert (Robert Loggia) investigates a child murder with disturbed undercover cop Tom Lopez (Jimmy Smits) at the scene. Lopez is convinced that some unknown group will kill him and tries to shoot himself. Cal is called in to investigate the voodoo murder. Palo (Malick Bowens) is the ever present voodoo evil. Cal's housekeeper tries to protect the family with her good voodoo.

The use of religion is going to anger some people and color some reviews. I guess almost any movie can cause offense if taken that way. It starts off as a crime thriller. It seems to go slowly but methodically. Then it turns more towards horror and it's quite effective. There are some good voodoo horrors. The two hours running time is a little long but it's got some good creepy scares.

Widowed police psychiatrist (Martin Sheen) and his young son (Harley Cross) move to NYC and get involved with a cult that believes in human sacrifices--small children especially.

Exceptionally well-made, deadly serious horror film is not for everybody. It's way too long, has some very disturbing scenes (quick closeups of a dead child's mutilated body; animal sacrifice) and it's serious tone can wear one down. Still, it's a complex, one of a kind horror film. Name all the major studio films that deal with cults, voodoo and children sacrifices--there aren't any! It's surprising this even got made.

Sheen is very good as the father, Cross is exceptional as his son. Also Robert Loggia turns in strong support as a police chief. The only bad acting is by Helen Shaver as a landlady who Sheen falls for (for some reason). Also there's a pretty needless ending.

All in all though, a good horror film, but remember--it's STRONG stuff!

"The Believers" stars Martin Sheen as a forensic psychologist who moves with his young son to New York City after the death of his wife. Shortly after their arrival, a series of brutal ritualistic child murders plague the city, and his son becomes gravely endangered.

This little-talked-about late '80s quasi-horror film starts out promising--there are ominous deaths, grim warnings, and disturbing occult murders involving young children. The focus here is an urban take on Santeria that has been appropriated and perverted for nefarious purposes. The first half of the film is quite engaging, with Sheen's character slowly descending into this world and learning more and more about it, including benevolent forms of it, which are practiced by his Puerto Rican housekeeper.

At its core, the film is truly about the blind leading the blind--people so dedicated to an ideological belief that they are willing to engage in horrific acts to validate it, dragging others into their underworld as human collateral. Like much of John Schlesinger's work, "The Believers" is quite stylish, and there is a fair amount of suspense in the first two-thirds of it--but by the final act, the film begins to wobble into the realm of ridiculousness. Despite the fact that it runs nearly two hours, there is a surprising amount of connective tissue missing from the film, particularly regarding the cult practices and their overall intentions--the implications often come across as vague or oblique. There are two plot twists thrown into the mix in the last twenty minutes, and a showdown in a warehouse that feels frightfully overwrought and unbelievable. The film does end on a grim, immediate note, however, which does mitigate some of this.

Overall, I found this film quite engaging, though it lacks cogency, particularly in the third act. It is admittedly stylish and well-acted, but it contains too many unnecessary voids, especially when you take into account its runtime. I suspect the film may have been a victim of editing problems based on the way it is pieced together, though it's difficult to know for certain. Worth a watch for fans of cult-themed films, despite its lack of clarity at times. 6/10.