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!
Directed by: Kishore Kumar Pardasani
Written by: Siva
Studio: North Star Entertainment
Runtime: 149 minutes
Genre: Action, Drama
Cast:
Pawan Kalyan as Katamarayudu
Shruti Haasan as Avanthika
Siva Balaji as Katamarayudu’s younger brother
Ajay, Kamal Kamaraju, Chaitanya Krishna in supporting roles
Katamarayudu is a Telugu-language remake of the Tamil film Veeram. This movie blends family drama with high-octane action sequences, delivering a narrative that is quintessentially rooted in southern Indian cinema’s flair for heroism and larger-than-life characters.
The story revolves around Katamarayudu, a righteous and fiercely protective elder brother who has dedicated his life to looking after his younger siblings. Known for his aversion to marriage, his life takes a turn when Avanthika, a poised and graceful woman, enters his life. The movie skillfully combines lighthearted romance, brotherly camaraderie, and intense action sequences, creating an engaging watch for the masses.
Kishore Kumar Pardasani delivers a visually grand spectacle while staying true to the essence of its Tamil original. While the screenplay lacks novelty, it compensates with fast-paced action and emotional beats. The dialogues, although simple, hit the right chords when it comes to showcasing family bonds and love.
Pawan Kalyan is the heart of the film. His screen presence and charismatic portrayal of Katamarayudu dominate every frame. Shruti Haasan offers a refreshing on-screen presence, and her chemistry with Pawan Kalyan adds charm to the narrative. The supporting cast, especially the actors playing the brothers, do justice to their roles, adding depth to the storyline.
The film boasts meticulously choreographed fight scenes, which are a visual treat for action lovers. Anup Rubens’ background score and songs elevate the emotional and action-packed moments. His mass appeal and command over action and emotion anchor the movie effectively.
The film adheres to a conventional template, leaving little room for surprises. At 149 minutes, the film feels stretched, especially in the second half.
Katamarayudu is a feast for fans of Pawan Kalyan and action-packed family dramas. It carries the essence of mass entertainment but doesn’t break new ground. While it caters to the sensibilities of Telugu cinema audiences, others might find its predictability a drawback.
Rating: 8/10 Fans of Pawan Kalyan and high-energy action films will undoubtedly enjoy this one, but those looking for a novel story might find it wanting.
“Do you want to watch a film with me? It’s called Marcel the Shell with Shoes On”
“What?”
“It’s about a little shell named Marcel who wears shoes.”
“…”
And that about sums it up! It’s the blob of a week between Christmas and New Year so it was the optimum time to watch a very surreal film recently added to UK Netflix.
Released in 2021 (a blob of a year) Marcel the Shell with Shoes On is about a one-inch-tall shell called Marcel who lives with his grandmother, Connie, in an Airbnb. Marcel usually stays out the way of the house’s various guests as he utilizes his only means of fast transportation (a tennis ball) and walks his pet lint on a string (Alan). This is until a documentary filmmaker named Dean, who is staying at the Airbnb, discovers Marcel and his unique lifestyle.
As filmmakers are wont to do Dean begins to film interviews with Marcel, consequently we get an insight into Marcel’s world both inside and out. Yes, Marcel is a stop-motion hermit crab shell with surprisingly expressive googly eyes but he feels very human. I was unsure about Marcel’s age and gender because he sounds a lot like Lisa Simpson, I did even check that Marcel wasn’t voiced by Yeardly Smith. But Marcel is voiced superbly by Jenny Slate. Marcel comes off as quite childlike with his wide-eyed optimism and naivety (he is a shell I suppose). Yet, like many children, Marcel will utter something so profound he will seem more of a fossil than a shell. When Dean uploads Marcel’s interviews onto YouTube Marcel of course becomes a viral sensation. Marcel reads the comments on his videos, using his tiny shoes to activate the laptop touchpad, which is just adorable! Despite his obvious popularity, Marcel remarks; “It’s an audience. It’s not a community.” Which just drives a stake into the heart of social media.
No, Marcel does not become a teeny-tiny-TikToker, he in fact uses the internet to find his lost community. The house used to be full of anthropomorphic objects including Marcel’s own shell family. They had been living in the house for generations, Connie herself came from the garage travelling by coat pocket to the main house; it’s why she has an accent. Among the community there are anthropomorphic pieces of cereal and because the internet notices this stuff; a tampon! An unfortunate event occurred and the community were accidentally removed from their home one tragic night, leaving Marcel and Connie on their own.
Being an A24 film I knew it would get deep. Marcel’s journey gives the audience a unique perspective of life, death, and community. In a modern world where we are more connected than ever but loneliness has been recognized as a universal health crisis. We could all learn something from this talented little shell and his grandmother. Be like Marcel and don’t get sanded down by life, stay connected to your community and know you are not just rattling around on your own!
It’s a beautifully poignant and quirky film. Despite its metaphysical and existential content, the film doesn’t take itself too seriously. Whether it’s Marcel making rope by winding together the pubic hairs he finds in the drain (he calls them ‘hardy hairs’) or sleeping on slices of bread referring to them as his ‘breadroom’. The film is painstakingly detailed and you can see its roots in a short film. It’s a delightful adventure that has something far bigger to say than its minuscule protagonist.
Five stars.
“Mechanic Rocky” is a 2024 Indian Telugu-language action comedy film that marks the directorial debut of Ravi Teja Mullapudi, who also penned the script. Produced by Ram Talluri under SRT Entertainments, the film features Vishwak Sen in the titular role, with Meenakshi Chaudhary and Shraddha Srinath as the female leads. The technical crew includes Manojh Reddy Katasani handling cinematography, Anwar Ali in charge of editing, and Jakes Bejoy composing the music.
The narrative centers on Rakesh, affectionately known as Rocky, a cheerful mechanic who operates his family’s auto repair shop. His life takes a tumultuous turn when he becomes entangled with two women, Apsara and Priya, both of whom develop romantic interests in him. Complications escalate as Ranki Reddy, a ruthless land grabber portrayed by Sunil, sets his sights on Rocky’s garage, leading to a series of confrontations that blend action, drama, and elements of comedy.
Vishwak Sen delivers a commendable performance, embodying Rocky with a blend of charm and intensity that resonates well with the audience. Meenakshi Chaudhary and Shraddha Srinath provide solid support, each bringing depth to their respective roles. Sunil’s portrayal of the antagonist adds a compelling layer to the film, enhancing the overall narrative.
The film’s music, composed by Jakes Bejoy, complements the storyline effectively, with tracks like “Gulledu Gulledu” and “Oo Pillo” standing out for their catchy tunes and engaging choreography.
Critically, “Mechanic Rocky” has received mixed reviews. The Times of India describes it as “an underdog tale blending drama, action, and redemption,” highlighting its genre-blending approach. Great Andhra notes that the film “feels like two different films,” with a tedious first half and a more engaging second half. 123telugu.com echoes this sentiment, stating that while the second half is gripping, the first half is dull, ultimately calling it a “decent watch.”
In conclusion, “Mechanic Rocky” offers a blend of action, comedy, and drama, with strong performances and engaging music. However, its uneven pacing and predictable plot developments may detract from the overall experience for some viewers. As an entertainment journalist and Indian cinema enthusiast, I would rate “Mechanic Rocky” a 6 out of 10, acknowledging its strengths while noting areas where it could have delivered more effectively.
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