Kitty Winn

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Exorcist II: The Heretic Review


Unbearable
Er, what's that? You didn't understand the intricacies of Exorcist II: The Heretic? What an idiot you are! You've got Linda Blair as a teenager, under hypnosis for most of the movie. You've got James Earl Jones as an African tribal leader. You've got "the good locusts." And you've got Richard Burton as a priest who opens up the whole can of demons afresh! Total, utter nonsense with a bad dub job. Stick with the original, or the next sequel if you must.

Exorcist II: The Heretic Review


Unbearable
Er, what's that? You didn't understand the intricacies of Exorcist II: The Heretic? What an idiot you are! You've got Linda Blair as a teenager, under hypnosis for most of the movie. You've got James Earl Jones as an African tribal leader. You've got "the good locusts." And you've got Richard Burton as a priest who opens up the whole can of demons afresh! Total, utter nonsense with a bad dub job. Stick with the original, or the next sequel if you must.

The Exorcist Review


Extraordinary
Green vomit. Unnatural head twisting. Unlikely use of a crucifix. These images from William Friedkin's The Exorcist have become so memorable, so iconic, that they almost carry an air of humor (even spoofed by Linda Blair herself in 1990's Repossessed). They're no longer just parts of the movie, they are the movie. But now that Warner Bros. has given the film a Friedkin-enhanced re-release, it's time to see The Exorcist again as a complete film, beginning to end, with the gory details intact and in context. The result is that 27 years after its controversial release, The Exorcist is nothing short of a taut, American classic.

People may forget that The Exorcist, recently screened at the Boston Film Festival and now hitting wide re-release, was a wildly independent movie when that particular movement was really getting in gear. Shocking and blasphemous-beyond-words in 1973, the story of a sweet little girl's demonic possession still has a renegade feel today -- the introductory exposition takes nearly forty minutes, the use of profane language is disgusting and thrilling, even by today's standards, and the long battle at the film's end is relentless.

Continue reading: The Exorcist Review

The Panic in Needle Park Review


OK
Al Pacino isn't particularly searing in this urban heroin drama, a precursor to much better films like Trainspotting, which really pushed the genre. But credit must be given, I suppose, to pioneers like Needle Park, which has Pacino and Susan Dey-lookalike Kitty Winn dazed and frequently comatose through nearly two hours of drugging, culminating in an inevitable bust. More a character study than any kind of narrative story, it's moderately worthwhile but far from a classic.

The Exorcist: The Version You've Never Seen Review


OK

It's been 26 years since "The Exorcist" raised the bar for horror movies, trading more on its chilling psychological effects than its ability to provide cheap spooks.

Because its story of a 12-year-old girl (Linda Blair) possessed by the devil quarries so deeply in the viewer's psyche, it remains more frightening than any teenage slasher flick (save, perhaps, the original "Halloween") -- even if it has become every-so-slightly campy with age.

The newly remastered print being released this month under the idiotic title of "The Exorcist: The Version You've Never Seen" is padded with cutting room floor footage and souped up with a digitally enhanced soundtrack and sound effects -- much of which actually distracts from the film's classic scariness.

Continue reading: The Exorcist: The Version You've Never Seen Review

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