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!
In recent years, the Indian entertainment landscape has witnessed a remarkable surge in the popularity of Japanese anime, leading to an increasing demand for localized content. Recognizing this trend, several platforms have begun offering anime dubbed in regional Indian languages such as Hindi, Tamil, and Telugu, making these captivating stories more accessible to a broader audience.
Streaming services have played a pivotal role in this cultural integration. For instance, Animedub.pro provides a vast collection of anime dubbed in languages including Hindi, Telugu, Tamil, Malayalam, and Bengali. Popular series like “Naruto,” “My Hero Academia,” and “Jujutsu Kaisen” are available in these regional languages, allowing fans to enjoy content in their preferred dialects.
Similarly, Crunchyroll, a leading anime streaming platform, announced a slate of Hindi, Tamil, and Telugu dubs for series such as “Dr. STONE,” “BLUE LOCK,” and “Haikyu!!” between May and June 2024, further catering to the diverse linguistic demographics of India.
The success of dubbed anime is significantly attributed to the talented Indian voice artists who bring these characters to life. Notable examples include:
Prasad Barve: Renowned for voicing Ash Ketchum in the Hindi version of “Pokémon” during the early 2000s, Barve’s portrayal became iconic among Indian audiences.
Sonal Kaushal: Known as ‘The Motor Mouth,’ Kaushal has been the Hindi voice of Doraemon since 2005, endearing herself to a generation of viewers.
Ankur Javeri: Celebrated for his portrayal of Goku in the Hindi dub of “Dragon Ball Z,” Javeri’s performance has electrified fans at events like Zee Cafe’s Anime Fest.
Javed Jaffrey: While not an anime series, Jaffrey’s humorous narration of the Japanese game show “Takeshi’s Castle” in Hindi showcased his versatility and contributed to the show’s cult status in India.
The localization of anime through regional dubbing has not only broadened the genre’s appeal but has also fostered a deeper cultural exchange between India and Japan. By experiencing stories that blend universal themes with distinct cultural nuances, Indian audiences have developed a greater appreciation for Japanese storytelling. This trend has also opened new avenues for Indian voice artists, providing them with opportunities to showcase their talent and connect with audiences nationwide.
In conclusion, the dubbing of Japanese anime into Indian languages like Hindi, Tamil, and Telugu signifies a harmonious blend of cultures, enriching the entertainment experiences of audiences and paving the way for a more inclusive media landscape.
Runtime: 2h 17min
Genre: Action, Drama, Crime
Director: Manoj Rathi
Writer: Veerendra Pal Singh
Studio: Rathi Films India
Cast:
Gavie Chahal as Veeru
Aarushi Sharma as Meera
Karamveer Choudhary as Chaudhary Saab
Manjit Singh as Inspector Malik
Rajendra Bhatia as MLA Dhillon
—
Jaat comes galloping in with the firepower of a rural action epic and the emotional core of a revenge drama. Directed by Manoj Rathi, this gritty North Indian action film pulls no punches, delivering a hard-hitting tale about honor, family, and retribution.
Gavie Chahal commands the screen as Veeru, a former army man turned vigilante who returns to his village only to find it ravaged by corruption and political thuggery. Chahal brings stoic intensity to the role, capturing both the silent rage and explosive force required of a righteous hero. Aarushi Sharma as Meera provides warmth and emotional grounding, while Karamveer Choudhary adds gravitas in his portrayal of an old patriarch trying to hold on to fading traditions.
The film’s biggest strength lies in its raw action sequences, beautifully choreographed and grounded in realism. Hand-to-hand combat, shootouts in mustard fields, and gripping chase scenes through narrow village lanes are highlights that keep you on the edge of your seat.
What Worked:
Authentic setting: The dusty lanes, village politics, and vibrant Haryanvi culture feel lived-in and immersive.
Powerful soundtrack: Folk-infused music enhances key moments, especially during confrontations.
Action choreography: Brutal, believable, and satisfying for fans of grounded action.
Strong lead performance: Gavie Chahal delivers a breakout role with screen presence and emotional depth.
Pacing issues: The second act lingers due to subplots that could have been trimmed. Predictable plot points: The revenge arc follows a familiar path and would benefit from more unexpected twists. Underdeveloped antagonist: Although the villain is effective, they lack depth and backstory, which would make the rivalry more engaging..
Rating: 7.5/10
Verdict: Jaat is a must-watch for fans of desi action with heart. It wears its rustic flair with pride and delivers a satisfying punch of drama, action, and cultural resonance. While it doesn’t reinvent the genre, it revs up the rural revenge saga with style and sincerity.
In the sprawling multiverse of the Marvel Cinematic Universe (MCU), few roles are as iconic, enigmatic, and intellectually menacing as Victor Von Doom — better known to fans as Doctor Doom. As Marvel prepares for its next phase, whispers of bold, unexpected casting choices are swirling. One name that has recently ignited fan discussions is none other than Bollywood’s megastar: Shah Rukh Khan.
At first glance, the idea of India’s “King of Romance” portraying one of Marvel’s most feared villains may seem like a stretch. But scratch the surface, and you’ll find a compelling argument — not just for diversity and international appeal, but for pure cinematic brilliance.
Shah Rukh Khan, or SRK, is not just a movie star; he’s a global phenomenon. With over 30 years in film, his range spans from charming heroes to complex antiheroes. His performances in films like Fan, Raees, and Jawan show a darker, more brooding side — proving he has the intensity and intelligence to pull off a character like Doom. Unlike the stereotypical one-dimensional villain, Doctor Doom requires a sense of wounded pride, imperial intellect, and tragic ego. SRK can deliver all three with chilling precision.
The Marvel Universe is evolving — both in content and casting. We’ve already seen major franchises embrace actors from diverse backgrounds: Simu Liu in Shang-Chi, Tenoch Huerta in Wakanda Forever, and Iman Vellani in Ms. Marvel. Casting SRK as Doom wouldn’t just be a bold step for Marvel; it would be a global statement — signaling a true embrace of the international market.
Latveria, Doom’s fictional homeland, has always been vaguely European. But Marvel has often adapted characters and backstories to better reflect real-world audiences and narrative opportunities. A reimagined Doom — perhaps a brilliant technocrat rising from a war-torn South Asian nation — would add layers of depth and relevance to the MCU’s ever-growing geopolitical canvas.
Doctor Doom isn’t just a villain; he’s a ruler, a genius, and sometimes even an uneasy ally. The character must command every scene — through intellect, menace, and occasionally, a sliver of humanity. SRK has the rare ability to fill a room with charisma, whether he’s speaking with a whisper or a roar. In fact, the very thing that makes SRK such a beloved romantic hero — his commanding presence — could make him an unforgettable Doom.
Imagine millions of fans in India — and the Indian diaspora worldwide — seeing one of their greatest cinematic icons in a pivotal Marvel role. It would be a watershed moment for representation in Hollywood. More importantly, it would challenge outdated notions of what a villain — or any powerful character — should look and sound like.
Of course, this is all speculation. Marvel has remained tight-lipped about the future of Doctor Doom. But the idea of Shah Rukh Khan donning the iron mask isn’t just wishful thinking. It’s a thrilling possibility — one that could bring gravitas, global appeal, and a fresh narrative edge to the MCU.
Marvel has always been about breaking the mold. Casting SRK as Doctor Doom wouldn’t just break it — it would forge an entirely new one in vibranium.
The rise of Japanese anime in India
Thandel: A Riveting Journey Through Social Inequities and Human Struggles
Jaat (2024) – A Gritty and Pulse-Pounding Ride Through Rural JusticeJaat
Simhadri
Could Shah Rukh Khan Be Marvel’s Real Dr. Doom? A Bold But Brilliant Possibility
Review: HIT 3: The Third Case (2025)
An Open Letter of Apology to Samantha Jones
Raid 2 (2025)
Adolescence: It’s her fault!
Movie Review: Mad Square (2025)
WonderCon 2025: A Faith Full Dickens Tale & The King of Kings Animated Movie
WonderCon 2025: Fade to Black Interviews
Comic-Con 2024: Arthur C Clarke’s Venus Prime TV series
Comic-Con 2024: Max Collins’s TRUE NOIR
Comic-Con 2024: Will Wight’s Cradle
