L'esorcista III

Most all have watched the 1973 film classic "The Exorcist" and if like me you decided to miss the lame sequel part 2 with Linda Blair. However this 1990 film "The Exorcist III" goes well in step with the classic original almost like a continuation story of evil and possession with past connections. Based on a 1983 novel from William Peter Blatty called "Legion" this story and film is a scary and creepy fright feast that proves evil does exist in the world that we live in perhaps in the form of bad spirits and the afterlife. The film paces the scenes well the build up of the scenes are often slow yet end with very tense endings and bloody murders.

Set in Washington D.C. in the town of Georgetown a series of strange and bizarre murders start to happen and the killings are gruesome and they involve decapitations and mock style executions which rivals that of "Jesus being nailed to the cross". Enter Lt. Kinderman(the great George C. Scott) who's weathered worn burned out tough as nails detail detective soon starts to find that the murders are related to and rival that of the Gemini killer(an executed killer). Also the story and cases tie into a university hospital psych ward. Plus their is a scene in the hallway of a Nurses station that is freakish it may just be one of the scariest in horror film history.

Interesting is seeing how Patient X and a past form of Father Karras ties into the murders, also the performance from Brad Dourif is scary and spooky as the Gemini Killer. The acting and cast chemistry is all pro plus the scenes filmed were paced well and the camera work helped make the movie a knockout as many scary and tense moments have a slow build up only to surprise with quick and unexpected terror and fear! Finally watch this good well done sequel from 1990 and yes it was indeed scary proving that evil exist and is present in many forms thru people and their spirits, and for more insight read Blatty's complex novel "Legion".

This is so... So... Uncanny. For a number of reasons.

First off, maybe George C Scott protested his Oscar win for Patton because he could see into the future and thought he really deserved it for the scene in Exorcist III where he talks about having to look at the carp fish from his wife in his bathtub(?) One can dream.

I should note seriously that he is quite good here, being what should be the closest thing to an audience avatar (which, in this case with Blatty, means not entirely so much) as he is investigating these twisted murders by a serial killer called "Gemin" - who everyone thinks died 15 years before, when that little McNeil exorcism thing happened - just as Father Damien Karras did... Except the killer's real M.O., kept out of the press, keeps appearing with these victims, including a 12 year old and some priests. Scott manages to coney a lot of frustration and pain and anguish, at times subdued and other times not at all in that BIG Scott performance way, and he is something that, if only somewhat, can keep us tethered to some sort of reality (carp and all).

I think an issue in this film is that Blatty never got the memo from David Fincher when he said his line about people thinking there's five ways to shoot and scene, but in reality there's actually two, and one of those is wrong. And while Blatty made this before Fincher said that, the main idea applies: Blatty shoots scenes, not all the time but enough I could notice, in ways that say he either doesn't know where to put the camera just right or doesn't care or is just experimenting because he thinks the material calls for close-ups HERE when it should be a wide or medium. This also goes for the pacing at times, where a character will-in on a previous scene with a line or it's a hard CUT to something else. But this is in scenes establishing characters and the stakes in the first act for the most part, and it creates this weird feeling that Blatty may or may not have intended. It sure kept me on my toes (it's a movie to put the phone down and just WATCH), and even the direction of certain supporting players (like that one nurse that *yells* her dialog for some reason) is also off-kilter.

That's the phrase to look for here is off-kilter, which would be fine if this wasn't meant to be a sequel (of sorts, or spin-off or follow-up, whatever you want to call it) to The Exorcist, and despite the studio monkeying around with Blatty and forcing the title and franchise on him (though the book, Legion, does follow Kinderman and is in this world), Blatty is sort of defying the stark/documentary type of realism that was set up in the first story, which made it so horrifying, and since he is a true believer in this stuff (Friedkin, who wasn't, brought a different take on it), that also makes it... Odder.

Like, is the conflict that Kinderman isn't a believer and has to become one to stop this possessed killer, who happens to take on the face sometimes of Karras (Miller returning... for half of a performance, allegedly due to his drinking problem he couldn't remember all the lines to Blatty's turducken-sized monologues for Vinamen) Or is it simply a mystery with a particularly twisted horror bent that includes some gory details?

So what elevates what is a bit of a mess of a horror mystery, even before it gets to the climax - where the studio spent 4 million because they ordered that Blatty had to make it a full-blown Exorcist movie for several minutes? The scenes with Miller and Dourif in that dark mental hospital cell are masterful and remarkable, tense and even terrifying for how effectively Blatty is shooting and cutting together, the lighting and staging, what are long dialog/monologue scenes, the cracklingly good performances from these two men who tap into not just the evil but the misery and diabolical thrill of beong evil, and that for as long-winded as it might seem (particularly the second round, the first scene, where it's almost 50/50 Miller and Dourif, is aces)... It finds its footing and feels unique in that way where it can get under our skin. A good ten minutes of this is as unique and brilliant as any great horror movie ever.

There are a few other moments of creative filmmaking too, like that long sustained take showing the nurse doing her work in the hallway that leads up to a OH HELL moment, and a chase and confrontation in Kinderman's house that has energy and terror, and also that surreal (if short) sequence in the heaven waiting room, featuring the scariest jazz ever.

I cant say Exorcist III is particularly great, but watching it now almost 30 years later there's a lot to admire about it too. I even admire the warped go for broke level of horror of that finale (I do intend some day to watch Legion the director's cut). It's not the sort of movie most of us would expect from a movie called Exorcist III, but it has a closer look and tone than (certainly) Exorcist II. And if it is at times Cinema-by-Committee, then at least that wild almost amateur but creative novelist Blatty got to flex a little.

William Peter Blatty The Exorcist III's has excellent dialogue, well paced, superb acting, solid character arcs and plot development mark this fine demonic horror/detective story. I feel George C. Scott's performance is as good as he has ever played in any of his previous films. Further back up by Brad Dourif magnetic monologue's . The atmosphere surrounding the film is one of foreboding , anticipation and ultimately the despair of satanism. May not have the visceral impact of the first film, but it gives viewers far more than they had any reason to expect. It would probably be much more highly-regarded were it not for the pedigree it has to live up to. Exorcist III stands alone, one of those rarest of birds: a horror sequel with ideas of its own.

After the catastrophically inept, EXORCIST 2: THE HERETIC, it seemed that any further sequels would only make matters worse. Then, the original author, William Peter Blatty, took the Director's chair and made THE EXORCIST 3.

Picking up 15 years after the events of THE EXORCIST, Lt. Kinderman (now played by George C. Scott) is on the trail of a serial murderer with a penchant for religious symbolism. When his old friend, Father Dyer (Ed Flanders) seems to have become the latest victim, Kinderman becomes obsessed with the case. As he digs deeper, facts come to light that can't possibly be. In addition, events occur that defy logic and point to the supernatural.

When Kinderman encounters a certain mental patient (Brad Dourif), he begins to realize that he's up against something beyond his own understanding.

Blatty proves his ability to recapture some of the malevolence of the first film, using omens and weird happenings in subtle ways, while building the story methodically. Set mostly in a hospital, he makes the best of the limited, claustrophobic surroundings. Dourif gives the performance of his career, embodying his character and imbuing it with true madness and malice. A tremendous horror film in its own right, this is the worthy sequel to the original.

P.S.- Watch for great performances by Nicol Williamson (VENOM) as Father Morning, and Viveca Lindfors (CREEPSHOW) as Nurse X...

With a title like 'Excorcist 3', one doesn't hope for much. But in fact, this film is really only so titled to exploit the value attached with the name, and although it was written (and also directed) by the writer of the original film, it's actually a stand-alone movie in it's own right. And while William Blatty may be hard pushed to rival the efforts of the original's director, William Friedkin, he doesn't do too bad a job: he's a little over-reliant on abrupt cutting to achieve his shocks, and the budget for the special effects was obviously inadequate, but this is a suspenseful and chilling thriller. All supernatural movies suffer from a degree of innate silliness, and satanic movies perhaps especially so, but this film is constructed as if it was a conventional serial killer thriller, albeit an exceptionally dark and creepy one. As the signs of actual devilry begin to increase, the detective leading the case (played brilliantly by George Scott) starts to wonder if he's going mad. Only when the film is forced, near its conclusion, to represent the nightmare literally, does it inevitably become a little daft (but that charge could even be levied at 'The Excorcist' itself). I'm not generally a huge fan of horror movies, but this one is definitely above average, for its skill in modulating the tension and in restraining from excess until its final scenes. In conclusion, ignore the title, and watch.