The Exorcist III (1990) – Review

There aren’t many sequels out there that completely ignore the events of the previous chapter but John Boorman’s Exorcist II: The Heretic was so bonkers that William Peter Blatty, author of the original book, took it upon himself to helm the third instalment, which he adapted from his book Legion, and proceeded to ignore the idea that Richard Burton’s sweaty priest ever existed.

The film picks up fifteen years after the events of the original The Exorcist, on the anniversary of the death of Father Karras (Jason Miller), with Lieutenant Kinderman (George C. Scott) investigating a series of gruesome murders in Georgetown, murders that have distinct religious overtones that consists of a young boy and a priest being brutally murdered. But it’s when his friend Father Dyer (Ed Flanders) ends up in the hospital that Kinderman begins to discover a connection to a “Patient X” (Jason Miller) in the mental wing of a nearby hospital, who seems to be possessed by an evil force that had tormented the world in the past. What’s interesting about The Exorcist III is that it starts out as your standard police procedural, with Kinderman trying to solve these murders, but we get a left-field turn into the supernatural when this mysterious patient claims to be The Gemini Killer (Brad Dourif), a serial murderer who also died fifteen years ago.  The highlight of the film is the dynamic dialogue between these two.

 

“Well, Kinderman. Have the lambs stopped screaming?”

Unfortunately, the higher-ups at the studio weren’t quite happy with that “simple” premise and were not happy that the film was completely lacking in an “exorcism” and so Blatty was forced to do major re-shoots to amp up the battle of good vs evil, which consisted of shoehorning in an entirely new character, Father Morning (Nicol Williamson), who will become the Lankester Merrin of this film, unfortunately, this character doesn’t fit organically into the plot and his inclusion comes as an interruption to the battle of wills between Kinderman and the Gemini Killer, which should have been the central focus of the film’s climax. On the plus side, these re-shoots involved the return of actor Jason Miller – originally rejected by Blatty due to the man’s poor health due to alcoholism – and the blend of his performance with that of Brad Dourif works surprisingly well, as for its big special effects extravaganza ending, that not so much.

 

“The critics are going to crucify me, aren’t they?”

Stray Observations:

• Lieutenant Kinderman claims that Father Karras was his best friend and that he loved him, which is odd considering that other than a nice piece of banter their relationship was about five to ten minutes long in the previous film.
• Kinderman connects the first victim to the MacNeil exorcism because the young African American boy’s mother was the one who determined that Reagan was speaking backward English, which is not true, in The Exorcist the person who determined the language was a man and who was Caucasian.
• This film has one of the all-time great jump scares, if you’ve seen the movie you know the one I’m talking about.
• When asked how he is able to get in and out of jail without being seen, The Gemini Killer replies, “It’s child’s play” which is a nice nod to Brad Dourif’s iconic role as Chucky in the Child’s Play movies.
• There is a dream sequence where Kinderman seems to be walking through purgatory, with angels organizing souls and sending them to their proper destination and it looks like something out of a Terry Gilliam film.

 

“Mam, I’m sorry, but Heaven Can’t Wait.”

One of the film’s greatest strengths lies in its ability to create a sense of dread and unease through atmospheric tension rather than relying solely on jump scares or excessive gore. Blatty, who also wrote the screenplay based on his own novel, masterfully crafts an eerie ambience, making effective use of shadowy cinematography, haunting music, and subtle yet powerful performances. Standing in for the late great Lee J. Cobb, we have George C. Scott delivering a standout performance as Lieutenant Kinderman, portraying a complex character haunted by personal demons while facing unimaginable horrors. Scott’s commanding presence and nuanced acting lend credibility to the unfolding supernatural events, and his chemistry with the supporting cast enhances the film’s overall quality.

 

Law and Order: Special Supernatural Unit.

This is not to say that The Exorcist III is not without its flaws, the film’s pacing occasionally falters, particularly in the middle act due to those forced additions, and the narrative takes some detours that may confuse or lose the audience’s interest. Additionally, while the movie builds tension effectively, the climax feels somewhat rushed and lacks the same impact as the film’s earlier scenes. Despite these shortcomings, The Exorcist III succeeds in delivering thought-provoking themes and exploring the nature of good and evil in a deeply unsettling manner. The film raises questions about the fragility of faith and the persistence of evil in the world, captivating viewers with its philosophical undertones amidst the terror. Moreover, the film also showcases some truly memorable and genuinely terrifying moments that will leave an indelible impression on horror enthusiasts. The movie’s carefully crafted set pieces and skilful use of practical effects contribute to a number of chilling sequences that are sure to make your skin crawl.

 

I particularly liked the appearance of a certain DC comic book villain.

While this third instalment may not reach the same iconic status as its predecessor, The Exorcist III is a solid horror film in its own right, with a strong performance from George C. Scott, an eerie atmosphere, and some truly chilling moments, not to mention Brad Dourif’s chilling portrayal as this film’s version of the Zodiac Killer, this entry offers up a captivating and disturbing viewing experience for fans of the genre. If you’re a horror aficionado or a fan of the original film. this one is definitely worth a watch.