A police Lieutenant uncovers more than he bargained for as his investigation of a series of murders, which have all the hallmarks of the deceased Gemini serial killer, leads him to question the patients of a psychiatric ward.
Years before Father Lankester Merrin helped save Regan MacNeil's soul, he first encounters the demon Pazuzu in East Africa. This is the tale of Father Merrin's initial battle with Pazuzu and the rediscovery of his faith.
William Peter Blatty's director's cut of "The Exorcist III" which was thought to be lost. Recovered and released in 2016 under its original title, this is the definitive cut of the film based on his novel "Legion".
Damien the Antichrist, now thirteen years old, finally learns of his destiny under the guidance of an unholy disciple of Satan. Meanwhile dark forces begin to eliminate all those who suspect the child's true identity.
Lt. Kinderman and Father Dyer cheer each other up on the anniversary of the death of their mutual friend, Father Damien Karras, by going to see "It's a Wonderful Life" at the local theater in Georgetown, in Washington D.C. But there's no cheering Kinderman while a particularly cruel and gruesome serial killer is at large. His murders, which involve torture, decapitation and the desecration of religious icons, is bad enough; but they also resemble those of the Gemini Killer, who has been dead for fifteen years.Written by
In the theatrical cut, the tombstone over the grave where Father Karras' body is finally buried reads:
"Entered 30 July 1957
Died 9 Oct. 1975"
"Entered" here is a misspelling of "Interred" meaning "Buried." See more »
Some European prints are rumored to include a scene depicting the violent killing of a priest, removed from the US version after unsuccessful sneak previews. A shot from this scene, showing the beheaded priest sitting on a bench and holding his own head in his lap, can be seen in the French publicity stills. See more »
Flawed though it is, I have a soft spot for this film for its intelligent, non-ironic journey into darkness.
William Peter Blatty can really write. Prose and dialogue. No argument. But can he direct a movie? On the strength of 'Exorcist III,' yes he can. This isn't to say that the film doesn't have its problems. On the contrary, its biggest problem, the out-of-character 'crowd-pleasing' SFX climax stops it from being one of the greats. So why do I have a soft spot for this film? If, like me, you appreciate horror films that are both scary and made for grown-ups, 'Exorcist III' is refreshing and memorable for its intelligent, non-ironic journey into darkness and for its refusal (bar that ending) to dumb down for the kids. If 'Scream' is your idea of a great horror movie, this isn't one for you! The cast is not nearly young and attractive enough, there are nowhere near enough gags (though Blatty's dry, sardonic wit is happily in evidence) and the film has no pretensions at being an autopsy of the genre, therefore somehow lifting it above the films it purports to comment on. 'Exorcist III' is literary beyond 'Scream's' self-referential trivia-chasing (I would love to hear Detective Kinderman critiquing that movie!) Read 'Legion' and you'll have an idea of how good the film should have been. Flaws acknowledged and accepted, don't miss out on Brad Dourif's best performance since 'Cuckoo's Nest,' scene-stealing turns by Ed Flanders and Nancy Fish, or the superlative production design, photography and sound. More than anything else, it's the atmosphere of the film that stays with me. I can recall very few films that have a better sense of the power of stillness and silence. So much of the violence is communicated only in dialogue; your mind reluctantly does the rest.
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