Movie
‘The Exorcist Believer’: I find your lack of faith disturbing
Spoilers get demonic too!
Set some 50 years after the events of the exorcism of Raegan MacNeil, a single father with an unusual past has his and a neighbor’s daughter disappear for 3 days in the woods together, returning irrevocably changed and apparently possessed.
This is a muddled one folks, even for an entry in the legacy that is Exorcist, and the only actually clear theme that runs through the film is missed and/or wasted opportunities. But tis the Halloween season, and so into the suffering and torment of not one but two little girls we dive!
So Victor Fielding (Leslie Odom Jr.) is, or perhaps was, a professional freelance photographer. He and his heavily pregnant wife Sorenne (Tracey Graves) are off in Haiti where he’s getting some great real-life shots, and somehow Victor isn’t bothered when his quite vulnerable wife is taken away to get Voodoo healing and protection rites placed on her unborn child, by some kind if not mildly suspicious strangers. Note the protective rites were apparently only for the child, so when a massive earthquake strikes their inn and poor Sorenne gets tossed down a broken stairwell like a ragdoll, devastated Victor is left with an impossible choice of whom to save, because you can only save one.
Cut to some teenaged-years-odd later in the good ole US of A, Victor is a loving father to a fairly typical if a bit lonely teenager, uninspiringly named Angela (Lidya Jewett). His baby girl is his world, and honestly, the few bits of love we see between Victor and Angela as they prepare for their day, cheerfully arguing about the poor little piggies that sausage comes from, are some of the only bright spots of the movie. Angela is a good girl, does fine in school, and has a friend or two, but of course, she misses the mom she never knew, guiltily going through mom’s hidden things when she can, and the innocent theft of a scarf kicks off a whole lot of ruckus that could have been avoided if Victor had been a smidge more understanding.
But that’s not what’s important right now, because both Angela and her classmate Katherine (Olivia Marcum) have gone into the woods for some kiddie rituals, and have vanished without much trace.
It seems a common writers trope these days, for younglings to want to delve more or less innocently into the occult, as they test the waters of interest in their formative years. Plenty of movies establish why it’s never a good idea to mess with an Ouija board, but Believer seems to imply that the naïve usage of the pendulum by Katherine and Angela acts as an open invitation to all kinds of deviltry.
Victor seems to pride himself on being open-minded and yet also practical, but begins to understandably become rather frantic whilst looking for Angela. Katherine’s parents, mother Miranda (Jennifer Nettles) and father Tony (Norbert Leo Butz), are desperate too but involve their church brethren almost immediately too, and make a bit of a muddle of things by doing so.
While the strange hidden tunnels that Angela seems to have found herself in could have been explored way more for audience understanding if nothing else, the scene is downgraded to atmospheric jump scares full of empty nothing. Honestly, the whole scenes where the cops and the medical examiners do their best to make it as painless and not humiliating as possible but have to go through every last test including the rape kit, are more horrifying than the gloss of what actually happened to Angela and Katherine in the woods.
But that doesn’t matter now either, because Angela and Katherine are home, safe and sound. Right? Except neither one of them is acting very safe, or sound for that matter. Victor in his resignation to give every last avenue to save his baby girl a try, has reluctantly brought in a woman he considers to be a potential expert on the matter, Chris MacNeil (Ellyn Burstyn), author of a certain book of her experiences with exorcism and mother to one Raegan MacNeil, who went through this some time ago. Poor Katherine just let it all come out in Church, much to the horror of her mother and father, and the Baptist pastor Don Revans (Raphael Sbarge), while possessed Angela just starts straight up attacking people. Their physical appearance gets worse and worse, in the grand tradition of Exorcism body-horror tells, and while Marcum as Katherine looks more or less like a copy of Raegan at her worst, the makeup and practical effects used on Jewett as Angela, as a demonically possessed black child, could have been better realized.
Aided by the rogue former nun turned caretaker Ann (Ann Dowd) and the rebellious priest Father Maddox (E.J. Bonilla), a genuine attempt is made to get permission from the diocese to perform the rite of Roman exorcism on both girls. And inevitably, despite all the evidence and Chris’ damning testimony and hell, the innocence of both girls, the Church ultimately rules against performing the exorcism, citing the need for “mental assistance” instead. And like Father Merrin before him, Father Maddox is now faced with a crisis of conscience, and perhaps also, one of faith.
Time is running out, the girls are both slipping away, and the useless adults decide to go ahead and do the damned rite of exorcism anyways. The Baptist pastor Revans is there, along with Victor’s neighbor the Pentecostal priest Stuart (Danny McCarthy), the ritualistic black healer Dr. Beehibe (Okwui Okpokwasili), Ann, and Chris “I’ve studied the rite of exorcism in every culture” MacNeil, even the cowardly Father Maddox came to help finally. (Not that it does him, or Angela or Katherine, a lick of good.)
Finally, finally, this is what we’re here for after all that buildup, we are doing this thing, the Roman Catholic rite of exorcism. But we have several different representatives of other flavors of faith here already, and Chris kept going on about all the research she’s done on the rite of exorcism in every culture, why does it have to be the Roman Catholic one from Raegan’s time? All the power and faith the Church is purported to contain didn’t do Father Maddox a damn bit of help, either before or during the rite, and even with Chris there to pick up the slack as Father Maddox’s dead body hits the floor, she’s not sanctified in any particular way and basically according to the “rules” set down by the former Exorcist movie, it shouldn’t have worked. The presence of Dr. Beehibe too, as a ritualistic earthen type healer, very closely skirts what the Church would define as Witchcraft, yet she alone is more effective in her faith and power, than these other ineffectual white men standing around yelling at a demon.
It’s apparently the very misinformed choice on Katherine’s father’s part, that finally sets the endgame in motion, and the final casting-out of the demon Pazuzu (we assume it’s the same demon from the first films by the way it speaks; why couldn’t we have Pazuzu’s cousin Zipzap the Grotesque come visit?). And we’re left with a lovely little end-scene where the MacNeil’s are finally reunited, despite how Pazuzu warned Chris she’d never see Raegan again. I mean, technically, she didn’t.
The first in a trilogy of new Exorcist films, Believer asks a lot of open-ended questions about faith, spirituality in general, and the way humanity interacts with each other but especially our children. Citing the Dogma idea that it doesn’t matter what you have faith in so long as you do indeed have faith, doesn’t actually seem to fly in Believer – it didn’t save the cowardly priest who finally decided to defy his Church and perform the rite; couldn’t save all the grown adults from various religions who would swear they were unshakable in their beliefs; couldn’t even prevent the innocent children from being possessed in the first place. If Believer couldn’t support its’ own characters faiths, the film is highly unlikely to sway audience converts.
Grab your salt and crucifix for protection, and see The Exorcist Believer in theaters now!
Spoilers hidden in clown makeup!
Called “The Madness of two”, the love story of Joker and Lee, is set against the backdrop of the murder trial of Arthur Fleck, imprisoned in Arkham, in 1980’s Gotham City.
It’s almost impossible to believe that the film’s director and writers would do this to a character they professed to come to love by the end of the first, admittedly divisive, Joker film. But it happened, and it’s up there for us the audience to be, let’s be real here, tortured with. You’ve been warned.
They turned Arthur Fleck, the downtrodden character who took back his own power at the end of the first film, back into what he began this whole journey as – a victim. Even his Joker persona won’t save him from being objectified at his trial, for his lawyer keeps insisting he’s sick in the head and this “Joker” is the result, and the legion of fans out there clamoring for more are more aimless fan-atics and less revolutionaries. Though one person, a shiny little tarnished pearl set among the crazies at Arkham, stands out for Arthur in a very strong way.
The single bright spot in the whole film, ‘cuz it sure is not the skeleton-thin Joaquin Phoenix trudging about Arkham like a cowed scarecrow, is inevitably Lady Gaga as the reimagined Harley Quinn, or Lee, as she introduces herself to Arthur. They meet, inevitably enough, at music class. And suddenly, Arthur’s heart finds song again! Lee loves Arthur, or rather Joker, with an intensity that actually shocks him awake for a short while. And we see small, short flashes of our beloved madman in his iconic makeup, as he madly pirouettes his way through representing himself at his own trial, defiant in his sharp-angled clown look, his voice flitting effortlessly between entertaining characters, accompanied by musical numbers straight from Jokers cerebral cortex, fully imagined and surreal, joyous and loud, impossible to deny or ignore. Which, remember from the first film, was the whole point folks. Gaga carries in every single musical number, and there is always a just barely-there sense of her singing being just the tiniest bit off, like you know that note and that note was wrong, but she did that on purpose to demonstrate Lee’s own version of reciprocating madness. It’s genius ya’ll, but rather than being any kind of uplifting, the duets especially that Lee does with Joker are a musical dive further into madness. Lee wants Arthur to split and for Joker to explode and entertain and be alive, and nothing will stand in her way. Even enduring an, I kid you not so be prepared for it, totally awkward sex scene.
It turns out, the villain of the film is actually Lee herself. Her carefully crafted fan-cast ways are quite believable, a testament to Mother Monsters excellent acting abilities, but in fact it’s all wrong. In what is arguably DC’s most legendary abusive relationship, Joker is the villain and Harley Quinn is his, however willing, victim. Definitely not the other way around, which is what is presented here in Folie au Deux. And while I applaud a Harley Quinn offered to us as a calculating femme fatale finally, this reduces our formerly powerful Joker to a shell of even Arthur Fleck. This is not what we, the audience, are here for.
The amount of abuse Arthur suffers throughout the film is appalling, and made more so because there is no delicious payoff like in the first film. Joker does not snap and go on a killing spree, or give a joyously psychotic rant, no, he confesses. Traces of the Joker makeup he wore so defiantly in court still remain, but our clever mastermind clown prince of crime, or what he could have been, is reduced to this blubbering, maniacally laughing, apologetic thing on his last stand.
After the trials inevitable conclusion, the torture doesn’t end for poor Arthur, oh no. Lee is gone, the music in his head has ceased, and things at Arkham with everyone’s favorite singing guard Jackie Sullivan (Brendan Gleeson) is about to take a turn for the seriously worse.
The movie has a well-earned R rating and though it isn’t graphic per se, no one in the audience wanted to share head-space with the strongly implied image of Brendan Gleeson having to act out raping Joaquin Phoenix, broken and beaten and lost, utterly powerless.
Also, tell me in a movie that we’re set in the 1980’s without telling me we’re in the 80’s – damn near every single last character is smoking. Like, constantly. Throughout most of the musical numbers too. Hell, the first thing Arthur Fleck says of any note in the movie, is to ask his interviewer for a cigarette. Likely even unconsciously divisive with the audience, the smoking emphasizes the melancholia of most of the characters and indeed, the very grungy atmosphere of 80’s Gotham City.
The director already said that this version of the Joker isn’t the “real one”, which harkens back to the time of the TV show Gotham, who gave credence to the notion that Joker ideals and madness could be spread like a plague and therefore anyone could in theory be Joker, and this theory holds at the very end of the film and what the assassin does to himself in the blurred, blood-soaked background. Which, hey, I’m fine with the idea of these Joker films being one-offs in a separate but attached DC-verse, but it only makes one pity poor Arthur Fleck even more. Not even the real madman, just a depressed little would-be clown, betrayed by everyone, totally alone. All Arthur ever wanted was to entertain people, and surely the sequel does that idea up big, with larger-than-life musical numbers, dancing and costumes and a love story for two very widely known characters, but in the most grim-dark depressingly bleak manner possible. It mostly really is all in Arthur’s head, after all. None of the truly beautiful parts are real. And that thought is truly depressing, for it’s as close to real life as one is going to get inside the DC-verse. It’s kind of like we the audience are betraying Arthur too, because we’re watching his life unraveling as a form of consumer entertainment. And I don’t watch films for a guilt trip, thank you.
One could say that no matter what strong opinions one has about the movie – and there are many, the Press section in my theater when I saw the film was absolutely abuzz with mostly strongly negative emotions – harkens back to the old thought of, it doesn’t matter if the conversation is positive or negative, you’re still talking about me. Even so, with the film hitting theaters recently and opinions pouring in, scales are leaning more and more towards, “I don’t like it.” Giant do-ups of grandly realized musical numbers, arguably a pair of the biggest stars in the artist world today in the titular roles, and a whopping you-wouldn’t-believe-how-much budget can’t save the Joker sequel from the folly of its own aspirations of … I’m not even sure what. See the film, and you tell me what you think is being presented here.
Listen in for the tears of a clown in Joker Folie au Deux in theaters now!
James Earl Jones, with his booming voice and commanding presence, has left an indelible mark on the film industry. From regal kings to fearsome villains, his versatile talent has made him a household name across generations. As a tribute to his extraordinary career, we take a look back at the top 10 favorite James Earl Jones movies—films that highlight the range, depth, and sheer power of his acting.
1. The Lion King (1994)
Overview: James Earl Jones’ portrayal of Mufasa in Disney’s The Lion King is iconic. His powerful voice gives life to the wise and noble lion king, delivering lines that have become part of cinematic history. The father-son bond between Mufasa and Simba resonates with viewers, making this role a cherished one in his filmography.
2. Star Wars: Episode IV – A New Hope (1977)
Overview: Perhaps no other role defines Jones more than his vocal portrayal of Darth Vader in Star Wars. His deep, menacing voice made Darth Vader one of the most feared and beloved villains in movie history. Though he was never physically on screen, his contribution to Star Wars is unforgettable.
3. Coming to America (1988)
Overview: In this beloved comedy, James Earl Jones plays King Jaffe Joffer, the proud and slightly intimidating father of Eddie Murphy’s Prince Akeem. His regal demeanor and comedic timing add a layer of humor and heart to this fish-out-of-water tale.
4. Field of Dreams (1989)
Overview: In Field of Dreams, James Earl Jones plays Terence Mann, a reclusive writer who delivers one of the most memorable monologues about baseball ever written. His performance, full of grace and wisdom, elevates the film to new emotional heights.
5. The Hunt for Red October (1990)
Overview: Jones’ portrayal of Admiral James Greer in this Cold War thriller cemented his status as a versatile actor. His calm and authoritative presence contrasts perfectly with the tension of the naval conflict, making his performance unforgettable.
6. Patriot Games (1992)
Overview: Reprising his role as Admiral Greer, Jones stars alongside Harrison Ford in this political thriller. His calm leadership and wisdom guide Ford’s Jack Ryan through a maze of political intrigue and danger.
7. The Great White Hope (1970)
Overview: Based on the true story of boxer Jack Johnson, The Great White Hope showcases Jones in one of his earliest and most powerful roles as Jack Jefferson. His portrayal earned him an Oscar nomination and solidified his place as a serious dramatic actor.
8. Conan the Barbarian (1982)
Overview: In Conan the Barbarian, Jones plays Thulsa Doom, the fearsome villain who faces off against Arnold Schwarzenegger’s Conan. His transformation from a charismatic cult leader to a ruthless sorcerer is chilling, adding depth to this fantasy epic.
9. Cry, the Beloved Country (1995)
Overview: In this powerful drama, Jones portrays Reverend Stephen Kumalo, a man searching for his son during the turbulent apartheid years in South Africa. His performance is deeply emotional and human, highlighting the pain and resilience of those living through apartheid.
10. Matewan (1987)
Overview: Set during the 1920s coal miner strikes, Matewan sees Jones playing a labor leader advocating for the rights of workers. His portrayal adds a sense of dignity and strength to this historical drama about the fight for justice.
2024 has been an emotional rollercoaster for moviegoers. Whether it’s the power of love, devastating loss, or the triumph of the human spirit, films this year have brought plenty of tears. From heart-wrenching dramas to unexpected moments of sadness in blockbusters, these are the top 10 movies in theaters this year that made us cry.
1. Oppenheimer
Overview: Christopher Nolan’s biographical drama about J. Robert Oppenheimer, the father of the atomic bomb, leaves viewers reflecting on the weight of history and the moral dilemmas faced by the man who changed the world forever. The movie’s emotional depth builds as Oppenheimer grapples with guilt and the consequences of his creation.
Why It Made Us Cry: The intense portrayal of Oppenheimer’s inner turmoil and the devastating effects of the atomic bomb hit hard, leaving the audience grappling with the emotional fallout of war and ethics.
2. Past Lives
Overview: Past Lives is a moving story about two childhood friends who reconnect after years apart, exploring the ideas of fate, love, and missed opportunities. The film’s subtle storytelling and emotional resonance leave a lasting impact.
Why It Made Us Cry: The deep emotional connection between the characters and the bittersweet nature of their relationship, filled with “what ifs,” pulls at the heartstrings.
3. A Good Person
Overview: Directed by Zach Braff, A Good Person features Florence Pugh and Morgan Freeman in an emotional exploration of grief, forgiveness, and healing. Pugh’s character navigates the aftermath of a tragic accident that upends her life.
Why It Made Us Cry: The raw performances and the movie’s powerful themes of loss and redemption create intense, tear-jerking moments.
4. The Whale
Overview: Brendan Fraser’s transformative performance in The Whale as a reclusive man struggling with obesity and seeking to reconnect with his estranged daughter is devastating and heart-rending.
Why It Made Us Cry: The portrayal of Fraser’s character’s desperation for redemption, along with his physical and emotional suffering, brings an overwhelming wave of sadness.
5. The Color Purple (2024)
Overview: The 2024 musical adaptation of The Color Purple revisits Alice Walker’s powerful story of resilience, love, and sisterhood. The film, directed by Blitz Bazawule, beautifully captures the emotional highs and lows of the characters’ lives.
Why It Made Us Cry: The film’s exploration of trauma, perseverance, and family bonds, paired with soul-stirring performances, evokes tears from beginning to end.
6. The Last Voyage of the Demeter
Overview: While The Last Voyage of the Demeter might seem like a horror film on the surface, its depiction of isolation, fear, and tragedy aboard a doomed ship draws out surprising emotional depth.
Why It Made Us Cry: The haunting story of loss and survival, combined with the eerie atmosphere, gives viewers moments of intense sorrow amid the terror.
7. Barbie (2024)
Overview: Greta Gerwig’s Barbie may be filled with fun and laughter, but it also packs an unexpected emotional punch. The film touches on themes of self-acceptance, identity, and the complexities of womanhood in a patriarchal world.
Why It Made Us Cry: Underneath the vibrant colors and witty humor, Barbie delivers poignant moments about finding one’s true self and the bittersweet experience of growing up.
8. Maestro (2024)
Overview: Maestro is a biopic about legendary composer Leonard Bernstein, played by Bradley Cooper. This film delves into Bernstein’s personal and professional struggles, particularly his complicated relationships and his pursuit of artistic perfection.
Why It Made Us Cry: Cooper’s portrayal of Bernstein’s emotional vulnerabilities and his strained marriage with Felicia Montealegre (played by Carey Mulligan) hits all the right notes, delivering heart-wrenching moments of love, regret, and loss.
9. All of Us Strangers (2024)
Overview: All of Us Strangers is a surreal drama that tackles themes of love, memory, and loss. The film, starring Andrew Scott and Paul Mescal, takes viewers on an emotional journey as a man reconnects with his long-lost parents in a haunting and unexpected way.
Why It Made Us Cry: The film’s exploration of grief and longing for connection strikes deep emotional chords, creating moments that stay with viewers long after the credits roll.
10. The Boy and the Heron (2024)
Overview: This animated masterpiece from Studio Ghibli is a coming-of-age story set in a fantastical world, directed by the legendary Hayao Miyazaki. It weaves themes of grief, growing up, and learning to move forward after loss.
Why It Made Us Cry: Studio Ghibli’s signature mix of whimsy and emotional depth is on full display, as the film tenderly explores the complex emotions of growing up and
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