'The Exorcist: Believer' fails to uphold the legacy of the 1973 horror franchise

October is the month of Halloween in the United States, so it's no wonder this month is ripe for horror binge-watch. David Gordon Green is famous for directing the trilogy of another horror franchise, Halloween, and he returns this year with the most renowned horror franchise in history, The Exorcist. 

After the 1973 original, no other sequel or prequel could live up to its standards; how will Green's sequel fare?

The plot starts with a slow-burning prologue set in Haiti; it introduces Victor Fielding (Leslie Odom, Jr.), a grieving widower haunted by a devastating past. His journey intertwines with the life of his daughter, Angela (Lydia Jewett), a seemingly ordinary 13-year-old whose encounter with the supernatural sets off a chain of events defying explanation.

The narrative plays with the ambiguity of whether evil lurks in their lives or if paranoia influences their judgment. David Gordon Green masterfully weaves this tension, channelling the eerie atmosphere reminiscent of the original.

As the plot thickens, the story takes an unexpected turn, deviating from traditional Catholicism-centered exorcism themes. Instead, a mystery of global spirituality unfolds, delving into the universality of possession and exorcism across cultures. Raphael Sbarge portrays a priest bewildered by a demonic outbreak, while Ann Dowd adds depth as Ann, a neighbour experienced with the supernatural.

Father Maddox (E.J. Bonilla), a young priest, embodies a struggle for faith, and a healer from Haiti (Okwui Okpokwasili) bridges gaps between contrasting beliefs.

Notably, the film features a legacy return by Ellen Burstyn, reprising her role as Chris McNeil from the original Exorcist. However, her character is handled poorly, leaving a gap in the narrative where potential depth could have flourished. Even if she weren't introduced, it wouldn't affect the plot. 

Despite these hiccups, Green's expertise in the horror genre shines through. His directorial capability is honed through years of diverse film ventures. In this film, he merges it with a quasi-documentary style, immersing viewers in a world where the unspeakable becomes tangible.

Yet, the film loses its potential to uphold the franchise's legacy by including an irritating amount of jumpscares. This isn't the 20th century when many jumpscares would seal a horror film's success.

The plot is like a complicated puzzle with pieces that don't fit together well, making the audience wish for a stronger bond with the characters. Despite great acting, especially by Leslie Odom, Jr., and the young actors, the movie doesn't evoke strong emotions. Even though the ending is full of supernatural intensity, it lacks the depth that could have made it unforgettable.

In its 111-minute duration, The Exorcist: Believer deals with big ideas – like a divided America coming together for its children and the importance of emotional connections – but these ideas aren't explored enough. Nonetheless, the film deserves credit for attempting to return the franchise to its original frightening essence. Still, a shortage of fresh concepts makes it a less-than-promising beginning for the planned new The Exorcist trilogy.

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