Episode: 359 • Duration: 01:12:14
Everyone knows the legacy of The Exorcist, and conversely everyone knows the infamy of Exorcist II: The Heretic, a deeply hated follow-up to the original that jettisoned most of what made it work. Here we talk about the convoluted direction and ideas, the poor soundstage work, the Linda Blair fetishism (creepy!) and a whole lot more.
We’re also drinking Sixpoint Brewing Company’s Resin DIPA!
Approximate timeline
0:00-13:00 Intro
13:00-20:00 Beer talk
20:00-end Exorcist II: The Heretic
Difficult Films continues the month of May!
Hit that play button above to listen in.
Transcript – Difficult Films* (3) EXORCIST II: THE HERETIC (auto-generated)
Click to expand full transcript
1:49
None.
Hey guys, welcome back to the Bone Black Rum Podcast.
I’m Ryan from closeplatation.com and I’m joined with my Co host.
Martin, how’s it going?
Pretty good, except again, we’re digging more into what we’re calling difficult films.
Films that are difficult because they are hard to watch, not because they have subject matter that you might find extreme, which is what we used to do for difficult films.
2:18
Change it up a little bit.
Hope you’re liking this so far.
Covered a couple of films previously already last week we did Showgirls and we talked about how we didn’t really find that film difficult and we need some revitalization and people to check it out.
And actually after we did that episode, because I generally don’t do this, I don’t like go.
2:37
I don’t read reviews after we watch the movie or anything.
I kind of wait till after I’ve gotten all of my own thoughts out and then after that I will go and you know, just check out what other people were saying.
And on Letterboxed, Showgirls does have a revival.
It’s got like a 3.7 rating on there.
2:53
So a lot of people have been rating that super highly.
I don’t know if that’s.
Wait seven.
Oh wait, 7.3 or 3.7?
3.7 because it’s on a scale of five.
Oh, OK, Yeah, so.
I don’t know if that’s because people are revisiting it or if that’s sort of like a ironic rating, but yeah, it’s it’s doing pretty well on Letterboxed considering, you know, what people have said about it in the past.
3:18
So maybe people are recognizing that it’s better than people originally thought.
I don’t know too.
I’ll say also too, check out our episode.
It’s one of our best.
Just like the episode before that and the episode before that.
They’re all our best.
3:33
Every new episode we put out is our best one, yes.
So certainly probably better than our first year.
I’ll sit down.
How dare you?
We were just messing around with that one.
How?
How dare you?
Being when things.
Stop, shoot, shoot.
3:49
Shit on 2015’s National Lampoon’s Vacation with that Helms and no one else that you remember.
I wonder if this episode today we will find the same appreciation for the movie that we’re covering.
4:06
Guess it’s going to be open to interpretation as we get into it.
But the, the, the movie that we’re doing today is so like last time, you know, we did a sort sort of cult film, but you know, wasn’t in the horror wheelhouse.
Today we’re doing one that’s definitely within the horror wheelhouse.
4:22
We’ve kind of been all over the place.
So the first episode we did play 9 from outer space 50s movie.
Then we did Showgirls from the 90s.
This one we’re we’re sending it back to 1977.
And again, this is a movie that had a lot of expectations surrounding it because the first film was a, you know, sensation.
4:45
It blew people away, often still called one of the scariest movies ever made.
We haven’t done it on the show.
So I won’t say whether we feel the same way about that first movie, you know, whether we actually think it’s the scariest movie ever made or, or whatnot.
5:04
But we’re going to cover the sequel today.
And we’ve, we’ve also done a new sequel of this movie that just, yeah, came out like a couple of years ago probably.
Like, is it like 3 years ago now?
Did Believer come out something like that?
Well, it’s felt like it was fucking.
5:20
Forever a proposed trilogy purposed, but no, we’re talking about Exorcist 2, The Heretic from 1977.
So this is another storied film of, you know, being one of considered one of the worst of films of the period, specifically one of the worst horror films of the period and and also one of the worst sequels period.
5:52
You know, as as a follow up to the exorcist.
This one left a lot of people feeling like at least let down, I should I will say.
And then you had to wait until Exorcist 3 came along to really sort of revitalize this franchise in a way that did not happen with something like the Omen, which we’ve also cut.
6:15
We did the first Omen on here.
The Omen did spectacularly pretty much throughout its run.
I mean, I think Omen 3 was, you know, kind of falling off a bit, but Omen 2 did pretty well and Exorcist 2 came out, I want to say five years after the first Exorcist.
6:33
I think Exorcist one was in 1972 when it released.
Going off the seat of my pants there.
But this one what had a lot to make up for, right?
So you had a very successful first film based off of successful novel.
6:54
You were working under the auspicious career of Bill Friedkin as well.
You know, you’re kind of trying to follow that up because he didn’t have anything to do with the second film in the series.
And I, I don’t know, I think that this film had it had the ball in its court, but at the same time, I think that it was a, it certainly had high expectations that it probably could not meet regardless of the the film that it put out, right?
7:29
Like regardless of if this film was really not as bad as what critics at the time had said about it, I don’t think that it would have done well regardless.
What do you think?
Kind of.
No, I agree because again, the 1st Exorcist, which we have not done yet.
7:49
I, I felt like we did what?
No, we have not.
We’ve talked about though, with our, you know, possession style films that we’ve covered though The Exorcist is, and we’re not adding anything to it is one of not just the best horror films I’ve ever made, it’s one of the best films I’ve ever made.
8:11
Revolutionized storytelling, how horror is perceived, how horror could, you know, make you feel and really, you know, a well done, well received, amazing, you know, little trinket that’s still within the zeitgeist to this day.
8:31
It spoke to fear mongering Catholics, yeah as well.
Right?
Like.
Literally literally taking Rosemary’s Baby and like, you know, fuck you, Roman going to do 1 better Ahmed.
But yeah, I like so it’s hard to follow up the fact that like there’s a sequel.
8:50
OK, I mean there it’s horror.
So you I’ll allow that in my head.
Sure.
The fact that Bill freakins not there not a good thing.
The fact that like, I mean, I’ll give this film credit on one thing only.
9:09
It try something different and tries to be something completely new and it’s own idea with that, I’ll give it props because that’s originalities as everyone already knows is, you know, a dead thing in Hollywood and media general nostalgia is all the rage.
9:27
So I’ll give him props for that.
But feel like watching this film, the only person that took notes and was like, wow, what a fucking film is Rian Johnson because it’s like his playbook for when they they gave him, you know, the Last Jedi, you know, like, yeah, do whatever the hell you want.
9:45
Rian, like, you know, you can’t fuck it up.
And he’s like, oh, you know, watch.
So like, I get it.
Like, because again, this film is a creation of a time when it like it like like with other films that we covered of the 70s, it’s a film that could literally only come out and during this time period, it’s a sequel to a blockbuster hit that revolutionized film and it does its own thing.
10:12
It’s a crazy fucking idea and it’s off the rails on coke and nothing like nothing hits.
So like it’s you can understand why they waited till 1990 to make the Exorcist 3.
You know, they kind of took this one away and like, well, we just single handedly killed the franchise that we were thinking about.
10:34
So I it’s just fun to see this because I can, I can only imagine if I was somebody walk a film goer in the 70s being like, oh man, I’ve been waiting like 4 years to see a sequel to the original Hexus, you know?
10:49
And the Omen was really good, like oops.
And then you go and you sit down and you see this and you’re like, what the fuck am I being subjected to?
So yeah.
I think that’s probably what happened.
Yeah, pretty much.
I mean, think you’re you’re describing the the average theater going experience back then for for this movie.
11:12
And so much so that as we talked about, as I as I stated, Exodus 3 had to come and, you know, sort of cleanse the palate and that didn’t happen for 13 years.
That was like Exorcist was untouchable after that in the franchise.
11:28
It was, you know, after Exorcist 2, no one wanted to touch the series.
And not only because of that, but because there was also lingering disputes around the originals, you know, had lawsuits galore.
Both William Friedkin and William Peter Blatty were like, suing everybody and each other about the original.
11:49
So, you know, it made it difficult to touch too.
But certainly the heretic coming out did not help things at all.
Because again, who?
I think it’s been a while since I’ve seen Exorcist 3, but I believe that for the most part that just jettisons anything that came from an exorcist too.
12:08
They were like, Nope, you’re basically like I, I don’t know what happened to that one, but no, we’re not going to do anything involving #2.
It’s been.
Like that didn’t happen.
It’s been so long, I couldn’t even tell you.
Like what I remember from exorcistry outside, as I was telling you before we got on air that like, yeah, Patrick Ewing’s a fucking Angel flying her out.
12:30
Don’t know why.
Maybe that’s why he, you know, the Knicks never won a goddamn championship with him is because he was too busy, you know, instead of working on his postgame, he’s on this goddamn movie.
But.
Yeah, I know.
It’s like I said, it’s been a while since I’ve seen Exorcist 3.
12:46
I do remember I I like Exorcist 3 quite a bit.
It’s a it’s a good movie.
And like I said it, it throws out pretty much everything that happened in Exorcist 2.
They everybody just completely forgets about this film.
Even even going forward, some of the sequels and offshoots and the TV series, they all really just kind of what is Exorcist 2?
13:07
I’ve never heard of it before.
I don’t don’t know what that is.
So, but anyway, yes, it’s it, it is a very, very illustrious legacy that Exorcist 2, The Heretic has as being one of the worst horror sequels that people can think of.
13:24
And you know, and that’s saying something, especially considering horror sequels tend to not be very good in most circumstances.
So to be the worst one is definitely an achievement, not a good one.
But anyway, let’s take a break real quick to talk about the beer that we have on the show today.
13:43
It was my turn.
I was at my local grocery store and I saw that a brewery that we don’t generally cover or get much of was on sale and had a 15 pack, which is not super common at this point.
14:01
I mean, a couple of breweries are doing the 15 packs, but it’s not still hasn’t become a a giant thing.
But six point brewery, which is a brewery from New York as well is in Brooklyn and they they’re releasing 15 packs right now of some of their like, you know, more common beers.
14:22
And I thought that was pretty cool and I grabbed them because the price looked good and the count looked good.
And so I thought we would just do one because we’ve never had, I don’t think we had six point on here ever, despite the fact that it is fairly close to us.
It’s not something that we’ve grabbed often.
14:40
So I, I had us do one of them on there and we’re going to do the rosin double IPA from six point.
This is 9.1% Beastie.
Pretty, pretty heavy and it is a double IPA.
14:57
Obviously the rosin name to it makes you think that it’s going to have, you know, nice, thick, almost like West Coast style type flavour to it and I would say that’s pretty much on par for what you get.
I was thinking like it’d be like one of those like very short lived like hemp Ipas that were around.
15:17
Sure.
Yeah, like. 20/19/2018.
The very, the extra dank hemp Ipas, Yeah, I I think we had one or two.
When was that malt monstrosity that we had?
Yeah, I can’t remember when it was, probably even earlier, probably 2017. 20 yeah, that was that was that one was not good.
15:38
Yes, no, this one is more so just oh, wait.
It’s called New Belgium.
Yeah, that’s what they do with Voodoo Range.
Yeah, this one is more so, you know, it also makes me think of like the ones where they are injecting the sort of like the the same ingredient that comes from cannabis, but it’s you know, it’s not it’s you know, it’s it’s the, what do they call it?
16:04
Terpenes?
Terpenes is like that.
That’s another big thing with the hemp style or, you know, Rosny beers is like having terpenes included, which was kind of the thing before breweries started to really get into the THC infused beers.
16:22
You know, it’s sort of the middleman of like we don’t really want to actually take the next step to, you know, get licensed and everything to have, you know, marijuana infused beers.
But they would just add the terpenes.
This one is more just like, you know, straight up double IPA style West Coast, D type style, you know, very standard West Coast.
16:43
It has a very drinkable feel to it.
You know, it’s not very like the alcohol content is strong.
It’s 9.1%, which is high even for like a double IPA standards, I would say.
And you know, you’re normally looking more at like A7 or an 8, so 9 is kind of up there.
17:02
But this one I think is pretty, pretty nice.
It’s not super strong.
I think it has a nice, you know, hoppy taste to it that sits well within the West Coast style without being too overwhelming or too overpowering.
And I think it’s a nice balanced double IPA without too much overall sweetness, you know, just nice refreshing taste to it and, you know, not super overwhelming or alcohol tasting, at least to my palate.
17:32
I, I, I like this one quite a bit.
I think they did a, a pretty good job for, you know, a bog standard type West Coast double IPAI like it.
And I think I’ve also had the pineapple rosin fairly recently actually, which is the same brew, but with pineapple added to it, which was also quite good.
17:50
I I like that one a lot as well, but yeah, Rosin double IPI gets a thumbs up for me.
How about for you?
I would definitely agree with that.
Pleasant, very pleasantly surprised.
We have done a couple of six points, not that much.
18:09
So it was nice, you know, giving him a shot again.
And I was at first very when I saw rosin, which even though I do like rosin Ipas, but double and a nine percenter is like a mother fucker.
It’s going to probably be like I was just thinking in my head, Southern tear and they’re over taxing, you know, alcohol body drinking this, as you said, it is nice and refreshing because West Coast styles are almost completely dead for the most part.
18:41
So it’s nice to have like a pure classic early 2010, you know, style West Coast IPA, and it has a nice brazenness to it.
It is, as you said, too, very drinkable, very easy going to the mouthfeel and body, very nice and easy.
19:00
I’m almost done, in fact, with the first one that Ryan gave me.
It’s delightful.
If you like that kind of sound, if you like a big bold rosin pine, you know, I don’t know, I didn’t look to see what hops are in there.
19:16
You like that style?
This is going to be for you.
If it’s so check it out.
If not, then stay away because it’s, you know, there’s no fruitiness to it.
There’s no like, you know, NAIPA style to it.
It’s all unapologetically West Coast.
19:33
So yeah, like I said, pleasantly surprised I would get this again, probably more during the fall or late winter, you know, around winter because it it is like drinking a Christmas tree.
So, you know, like, but yeah, it’s definitely good.
19:49
Thank you for the pick out.
Yeah, absolutely.
Yeah.
I, I would, you know, encourage to get the 15 pack if you have it around you, you know, might as well why not.
I think there is also a unique style in that one.
It’s which I think it’s just like a session.
20:07
IPA or session paleo or something like that, which didn’t you know, wasn’t really as interesting for me to to cover, but I think this one’s really good.
I, you know, I would definitely check out the rest of the 15 pack from what I’ve had.
It’s been pretty good.
You know, I I like what I’ve seen so far from them, so check it out.
20:26
All right, let’s talk Exorcist 2, the heretic.
So first and foremost, this movie, you said the name wrong.
What’s that?
Yeah, Exorcist too.
Heretic.
The Heretic.
Or you can say in a film by John Borman, as the credits show right at the beginning there.
20:48
And and you’re going who?
Yeah, Who?
John Borman?
I don’t know.
Yeah, this movie.
So again, this movie is like meant to be a direct sequel to The Exorcist in that it has Linda Blair in it as well playing Reagan.
21:05
You know, she’s about 16 years old in the film.
So it’s been a few years that have literally passed, you know, both from the time The Exorcist released and when Exorcist 2 takes place after The Exorcist.
And it uses a lot of, you know, information and follow up to the original Exorcist.
21:26
But it also kind of throws out most of the things about that movie that really made that movie stand out.
So for one thing, this film, despite having an, you know, exorcist in the name, does not have an exorcism.
Really it’s not you know, it doesn’t focus around an exorcism.
21:46
It very rarely folk focuses on the demon Pezuzu possessing anybody.
And it also notably, sort of strangely, the film mentions Reagan’s mom misses McNeil multiple times and yet nowhere to be seen in this movie, as though she was like, no thank you.
22:12
Well, not only that, her and Damien Carras, like the main protagonist from like the first film, they’re always like father man and father man come get Maxwell inside out to come back.
But like, you know, couldn’t get him.
22:28
Yeah.
It’s like, like, like, you know, it’s, it’s really funny and it’s like you’re trying to Recon them out of the like, you know, like it.
It’s just really weird and like.
Yeah, they really, it, it is, it’s super strange, like especially considering the fact that like the film is kind of, you know, it centres around Reagan.
22:50
And so multiple times the film has to make note of the fact that like, yes, 16 year old Reagan is like basically by herself, living by herself.
She has like, an aide, whoever this one woman is that they have in the film on, I forget her name, like the Sharon.
23:07
Sharon, Yeah.
I thought at first she was like her lesbian.
Right.
Oh, it’s with.
Friends, because they live in this palatial New York.
That’s where the fucking Pazuzu possession comes in.
That’s right.
Like who’s, how are you paying for that?
And like also too, like when you first see, like, you know, when you go in there, like Reagan has this giant art studio and all these pictures like, oh, she’s one of those girls now, like really in the art and, you know.
23:34
Tap dancing and really in a tap dance, she.
Just wants to really make it big.
I do think too, that you, you cannot be a poor tap dancer, right?
Like there’s just not a there’s lane for.
You there’s not a lane for you.
23:49
No, right.
Exactly.
It’s not like you can’t.
It’s not a it’s not a a thing that you would pick up and be like you just anybody who’s wants to be a tap dancer can be a tap dancer.
I feel like it’s a very particular area of dance for one thing to be like focusing on tap dance.
24:07
Do you?
Because I feel like most parents, you know, especially considering like, you know, working class parents, you know, blue collar parents, things like that.
The kid comes home and they’re like, I’d like to try tap dancing like.
Can you just?
Try like regular dance first.
Like, you know what?
Why do we got to go through the trouble of having this, you know, getting the tap shoes and all this kind of thing?
24:28
Let’s let’s just try regular dance 1st and see how you like it.
I do.
Appreciate now that I’m like almost 40 like just thinking about like go after hearing about you and our other friends that have children and taking them to their, you know, activities and how much it costs like holy.
24:43
Shit, exactly.
Yeah, it’s not just the cost.
No one, no one say No wonder why my parents are like you Better you fuck God because they’re like you little shit head.
I spent $90.00 on cleats, $20 on shin guards.
We’re travelling all the way up to fucking Mussima.
25:00
Yeah.
I think it’s, I think it’s more so like the time spent and especially considering the fact that later on in this movie, there’s like sort of a, a fused sequence between when Father Lamont goes and visits like a African tribe and when she’s tap dancing and when Linda Blair’s tap dancing in a in a stage performance.
25:19
And you could see the stage performance looks awful.
It looks like the worst fucking performance you can think about.
Like it’s like got a student band poorly choreographed tap dancing.
Well not only that, why is it the psych facility like we don’t see?
25:34
Her.
We don’t see her at school or anything.
She doesn’t apparently go to school, but like afterwards she goes to the psych facility because she’s she’s getting the therapies and there’s a giant glass ornament of a fucking psych building and they’re doing the tap dancing later.
25:52
Like, it’s like they’re not like it’s a place for the gifted students as they go, you know, But the film opens, the film opens up basically with her, you know, braless, you know, Digga, Digga, Digga, Digga, Digga as this one.
26:07
Kids like playing the saxophone and say get this.
It’s a weird, it’s a weird inclusion.
It just seems like such a random.
I don’t know if it’s supposed to show like this sort of like side of innocence to Linda Blair’s character Reagan, who is like, you know, kind of prospered after her.
26:27
Yes, she’s going to a psychologist to study.
But it almost seems like the psychologist in this movie is doing more harm than good because consistently Reagan is like going to the psychologist.
He’s like, I think I’m just wasting your time.
And she’s like, how so?
26:43
Like, well, I don’t I’m not bothered by anything anymore.
Like the demons left me.
I don’t have dreams.
And that the psychologist like no, you have dreams.
You tell me those dreams She’s.
Like I don’t.
I don’t have dreams, psychologist.
Like, you’re going to get hypnotized and tell me those dreams?
27:01
Yeah.
It’s just, it’s almost like it’s funny because the film almost treats Reagan like she’s not had any issues until Father Lamont and her her, you know, psychotherapist Gene are like so obsessed with treating it that they like almost bring out Pazuzu again.
27:19
They like bring about the possession again.
Because just out of out of annoyance.
Yeah, they’re coming.
Like come.
Back like you.
Yeah, they keep conjuring Pazuzu and Pazuzu is like.
All right, all right, I’ll.
Make an appearance.
Which by the way, one very not just the 70s, but like up until like the early 2000s idea of like psychotherapy.
27:43
Oh yes.
What are you?
What are you?
What are you dreams and how you feeling like it’s not real?
You’ve been to therapy?
Like at least I haven’t even had my been to therapy.
I haven’t had my therapist go about those dreams.
I think it’s because I wouldn’t have anything to say because I don’t remember my dream.
28:05
So it’d be like a short session.
I’d get paid, charged the same amount because, you know, waste our time.
But it’s just like those dreams.
Tell us about those dreams.
And.
What about?
What about have you thought about hypnosis?
28:21
That’s the other thing too, is like the.
Hypnosis.
We thought about hypnosis.
This is a very set like not only just the idea of the psychotherapy itself, but the the setting, like you mentioned it a little bit, this like very strange ornate psychology department that has all open windows.
28:43
You can see in every other room.
It’s like there’s like reflections of mirrors.
Like for most, I would feel like for most patients in that area, that would be overwhelming.
That’s like chaos, especially for someone who like you have the little girl who’s like, you know, almost it’s not funny, but it’s, it’s kind of hilarious the delivery of like when, when the little girl comes out talking to Reagan.
29:05
It’s.
She’s like, you can understand me.
It’s not, it’s not, it’s not funny in the sense that like her going like did it.
No, yeah.
It’s funny in the sense of like, whoa, like.
Yeah, it’s.
29:21
Like, it’s not like it’s just like 1.
How many people in the 70s were like, I know what autism is and it’s like, let alone a little gross.
So like 1, I guess props to the film for being inclusive on that part, trying to get that in there.
29:38
But two, just for being like she can’t speak.
She must be had fucking that autism that’s not now like like.
It’s a It could be turned into.
It’s been.
It’s not been mined for a meme, but it could be.
It totally could, especially especially because you know, autism memes and ADHD memes are.
29:58
Big now.
Well, that’s how that’s how I also diagnosed myself.
Right meme the company we making a lot of money I.
But that would require people to watch this film.
So that is true.
Sort of.
The rubber meets the.
Problem and like I said, I’m not laughing about the subject matter of autism.
30:16
I’m laughing about how the film kind of delivers that.
It’s sort of a interesting very.
Have to clarify that if people don’t understand it, then they got a problem because it’s literally because it’s, like I said, it’s literally blonde because, like, she can’t talk.
And, like, Reagan’s getting her to talk.
30:32
And we find out, like, you know, it’s Pazuzu, you know, making her do things.
But at the same time, you know, she’s like, like, yeah, it’s not like, you know, the film’s not being generous.
Like, you know, you know, they might as well just had her running around with a train afterwards.
30:53
Yeah, right.
Yeah.
But I think, I think what I was getting at there is I feel like this place is kind of utter chaos for especially for a person with autism.
It’s like a preschool.
Yeah, yeah.
I like preschool and it’s just, you know, it has this very 70s New Agey style of display, how it displays offices.
31:12
This is a thing that you would see quite a bit in in 70s movies that sort of imagined the psychotherapy area, especially psychotherapy areas that were specializing in more supernatural elements or like sixth sense elements.
Stuff like, you know, paranormal was very, very, very reminiscent of things like that.
31:31
And I was actually kind of surprised to see this film is very reminiscent of Firestarter.
But Firestarter would not release until 1980.
So this was actually sort of ahead of the curve here in terms of presenting this sort of paranormal research society.
31:47
You know, I was kind of thinking of Michael Ironsides and Scanners.
Like that’s kind of the same look too little bit more pea green 80 early 80s.
But like the whole set has like has that very like weird cold calculating like like what is this place?
32:07
They don’t even say what the hell it is.
You know, not really.
Yeah.
You know from watching the film that it’s some kind of like, you know, mental hospital and facility, but at the same time, they were like everyone.
It’s like, like Xavier’s house for, you know, mutant shelter and.
32:24
Like.
She’s basically, you know, like, Oh yes, come here, Cyclops.
I didn’t claim you do you lose your heat vision to destroy things.
It’s just.
But I think like this whole idea, this new age psycho Babble that it gets into is really where the film starts to lose like any sense of control over what it’s trying to do over even being part of the Exorcist franchise as a whole.
32:52
I mean, at at this point, I think we’re being generous and saying it’s a franchise.
This is CD to the first film.
But but the connection here to this first film is very, you know, reluctant to even, you know, like it wants to use the information for the first film, but it really wants to chart its own course.
33:12
And I think that’s part of the problem is that there’s really the course that it’s going on is very muddled.
This new age Babble about, you know, this sort of auditory, you know, hypnosis that they’re doing where you have to listen to the tone and bring your own hypnosis down to the tone and sort of enter into the room of the person, you know, the psychological room of the person.
33:39
It’s all just so much claptrap that’s added into this movie that really is the film is.
You’ve been waiting a long time to use the word.
Claptrap The film is constantly struggling to even explain what is going on with these types of psychological things.
34:00
And the further it goes, the more complicated it has to get about like or use a synchronizer and the brain waves and tones and and you know, you can see into the psychological room and like, oh, but you have a connection there and you need to be careful with that connection because you might damage someone’s brain.
34:20
It’s all it just, it’s so messy and, and, and by the end of the film, I think they’ve really thrown out this I whole idea because it doesn’t even make a whole lot of sense when they’re they can make connections in their mind without using the synchronizer.
34:35
It’s it’s all just bullshit.
And it’s really, I think where the film starts to go on a very long tangent that doesn’t really come to any conclusions.
I I don’t know if you felt the same way, but like I was OK with the film up for like about 20 minutes or so.
34:53
I actually think that the first part of the movie where they do the synchronization and they see the sort of the reflection in the window of, you know, back to like a possessed Reagan with Max von Sydow.
35:09
I think that’s kind of a cool idea.
Like I like that the whole overlay of like seeing the demon offset amongst them in the room, but I think post that point the film really just runs off the rails completely.
35:25
It has no idea where it’s going.
I like it more when it’s like the whole idea of the, you know, like psych eval fine with.
I think that actually works really well because our, you know, our exorcist in chief Father sweating Scotch is, you know, evil.
35:54
Everything we reject the world now everything is evil.
You don’t wear bras and there’s this thing called, you know, antidepressants.
Now we weren’t, you know, something like it could have like a, you know, something interesting to say.
But the fact that they don’t like, you know, actually go do anything with that kind of juxtaposition that they set up in the 1st and they go into what?
36:18
You don’t know, this hypnobab of bullshit, what silly idiots you are.
Like, they just act like the fact that they act like this is like already proven technology.
Like you haven’t gone to your therapist and had a hypno hiccup.
36:33
You know, what are you doing?
So it’s just, you know, I yeah, it’s just like it’s such an obtuse idea that it’s like, not only that, the fixation the film has again, I’m like, well, you know, Father, Father, Father, we got to find Father, Father married, Father married.
36:55
Like, like he was the grand, like, you know, the grand likes Exorcist and Savior and like Rick Conning, like everything from the first film into like, well, obviously, no, the devil.
37:10
We don’t talk about that no more because people don’t like that.
And he he was a heretic.
And it’s like totally, you know, reckoning what the first film was about.
Wasn’t like they’re like, don’t go and do that exorcism.
37:27
The church like you got to school and do the exorcism because there’s demons afoot.
So like it’s just really weird and tone deaf on like what the property proper?
So I, I agree, I think like an interesting idea could have been sort of this reversal of the original film, which the original film for all of its, you know, you know, praises it has in more recent times been criticized a bit.
37:53
And along with many of the other films that came out around this time for being, you know, overtly Catholic and overtly centered around religion to the point where, you know, the the only way to circumvent the the issue in the movie is to move towards God, to move towards a Catholic view of God.
38:16
And I think, you know, for a lot of flaws in the Exorcist believer, but that one in particular at least attempted to say, well, there are other faiths, you know, like.
Say, but not only that though too though.
I mean, again, exorcism is a cat like.
No, yeah.
We we we good loving Protestants don’t believe in that papist shit.
38:36
No, I agree.
I mean, I think, you know, like, you know, for, especially for the exorcist, you know, point taken.
Exorcism is a Catholic thing.
So of course it’s going to have some, you know, Catholicism baked into it.
But I think at the same time, you know, it was very much, you know, that particular, you know, that was the only thing that could save you is the, the, the, the faith in Catholicism and here.
39:02
And I think like you, they could have gone a little bit of a different way there in that they do make a very big point of saying like Father Lamont is living in sin right now.
He has been told by the cardinal.
Hey, hey.
You’re that shit.
Yeah, knock it off.
39:17
We’re putting you, you know, we’re taking you off this case because you’re too close to it.
And he continues to investigate and he goes to Africa anyway.
And so I think like that it an interesting point is that, you know, you know what, maybe he’s finding things here and he’s sort of swayed by his religion into a belief that may not be here, right?
39:37
Like, cuz again, it would have been very interesting to explore the fact that like, they are bringing out this demonic possession in Reagan, who has for the most part in every part of the film that we see before they start meddling in her life.
She’s fine.
39:52
She’s she’s doing well.
She’s interested in boys.
She’s doing tap dancing, you know, like there’s nothing wrong with her life at this point.
And actually she’s even doing some good.
She’s able to reach out to people who maybe need help.
And so the fact that they, you know, kind of get involved in her life and sort of start meddling in it and start bringing out this demonic possession.
40:15
Would have been an interesting idea to explore from a more maybe like, you know, paganish type ordeal that you, you know, it may not necessarily needed to have devolved into the Catholicism that we get from this movie.
I think that, you know, I really wish that they hadn’t focused so much on sort of the the other parts of the Catholic faith, like going to Africa and seeing like these African tribes performing Catholic rituals and.
40:45
Which is, which is very like at like at first, at least.
I don’t know if it was the same for you, but like I felt like like, are they even Catholic?
Like what are they supposed to be like?
You know, like, because they they don’t have like up until like at the very end, you don’t see like crosses and stuff.
41:04
It just seems like Santeria, you know, voodoo hocus pocus type shit that maybe like, you know, ties in because again, you think about it, you know, the idea of especially from a Christian perspective, there’s Christ and God.
41:28
Pazuzu doesn’t really exist.
Calling him King Pazuzu.
You wouldn’t call him King Pazuzu because that’s, you know, he’s, if he’s actually a demon, you wouldn’t like give him a ditch or like that raise his spirit up.
So, you know, the idea that like, like, I think the idea like if maybe if they were going with the idea of like, OK, there are demons and spirits out there from like different religions and beliefs.
41:56
We know about that.
That’s what he was doing out there.
He was trying to quell all these, you know, mischievous spirits that go against our God.
It could be a hell of a good, you know, fun.
Ideally Van Helsing, but with, you know.
42:13
Yeah.
But it doesn’t.
It’s just like, oh, you know, So it just seems really weird.
Like why is Pazuzu going down tracking this kid in Ethiopia time, you know?
You know, and like it just in the whole Locust.
42:30
Oh yeah, it’s.
Just really stupid.
I think that the, the biggest problem too, besides the fact, you know, like that the film itself is kind of lost in its own ideas, is that it’s, it’s got 2 very, like you said, obtuse ideas going at the same time.
42:48
The first one we talked about is like the psycho Babble about, you know, getting into each other’s heads and psychological rooms and stuff like that and being able to see dreams.
The second is the locust idea and that they, there’s this very elaborate locust, you know, metaphor about how locust swarms work and how, you know, you can there are certain locusts within the swarm that can help stop this, you know, swarm from forming and all they need to do is like brush wings and and, and so it’s sort of like this idea that’s supposed to be a simile between how Reagan brushed with Isuzu, but was able to, you know, come away from that because she’s a healer.
43:33
And it’s very much, it’s, it’s so muddled that the film really struggles to even get those points across.
So like, you almost need to like the I’ll, I’ll just shout out the Wikipedia page for this because the plot synopsis on the Wikipedia page is so much more focused and elaborated on than the film actually even goes into where it, whereas like, I feel like the Wikipedia page is almost doing its own, you know, job of, of researching the information and sort of presenting it in a way that the film doesn’t even do because it, it struggles so much with actually even understanding and trying to, you know, verbalize what it’s trying to say about the locust worm.
44:18
It’s, it’s so like having those two things together is just a recipe for disaster because you just don’t have the time and the patience to go into the ideas that are there.
I think it’s, it’s, it’s, it was a mistake to have both.
44:35
You could have one or the other.
I don’t think you can have both.
It’s just too convoluted at that point.
You know, I don’t mind the swarm, the locust worm metaphor because it does tie in with, you know, the plague and you know the, you know.
44:52
Well, maybe she didn’t look like shit.
Yeah, well, yeah.
No, that’s true.
I think, I think, I think, I think you know, John Saxon’s you know, bees does a better job than I love.
I love that ridiculous locus that they show multiple times, like flying in the forefront of the, you know, the camera in the background. 20 minutes, 20 minutes of this film could be cut out by that.
45:16
Why do we need to see the fucking, You know, the bug flying ahead like in the animal?
It’s fucking stupid.
Like I get the idea locust plague, you know, but at the same time dumb, absolutely fucking stupid.
45:37
It just every time like like when they go back when father go and Sharon go to, you know, the house from the first film where the possession, you know, happened, the locust that just randomly appears in the bedroom.
45:57
I was laughing so fucking hard because this just looks so bad and like just all of a sudden they walk in there and you just see it’s just.
So it’s too bad too, because this movie had a slightly higher budget than the first movie and $14 million budget.
46:17
First movie had about 12.
What’s that?
Where’d it go?
Yeah.
Well, I mean, I think where it went was like, so.
So I do think that the the actual demonic possessions are fairly good, like the the actual look of them.
They did a pretty good job of modelling them after the first film, like they they they stayed within the confines of what it looks like to have a demonic possession.
46:38
I actually think Kokumo’s possession looks really cool in terms of how they, you know, again, because the kind of the idea of Kakumo’s possession is supposed to be even more sinister because it relies a little bit on vague racism of like, look, tribal people are scary anyway and like and like now he’s possession.
47:02
Makes you, yeah.
Makes you think, makes you think of like, oh, it’s like 1977.
Why are the shotguns still running around like oh.
Yeah, yeah, yeah.
Like it, It kind of relies on that vague racism of like.
Ethiopia, hold on.
It’s also ruined by the fact that like even though the gap, it is cool in the effect, but at the same time you have every time like something’s going on, play blasting and it’s just like.
47:33
And and it doesn’t help that, like you said, where did the budget go in terms of set design, because the set is extremely bad because it looks like it is a sound stage.
It is very, very, it takes you right out of the movie to see like these very like, you know, in Indiana Jones at Disney World type of rock walls and things like that that they’ve got going on.
48:02
Listen, listen, kid.
A little throwback.
To when you they had to.
I don’t know if they still do the Indiana Jones ride and thing at Disney World, but.
Not only that though, it’s like the sound stage bad, all the setup for that bad.
48:20
The map paintings that they use kind of distract you from the fact that they’re on sound stage.
Terrible.
And then the effects of like people falling down, like the crevice that they’re in fucking.
It just looks so yeah, like, just like it would have been even.
48:38
Better if they just played a little home scream with it just to to have the, you know, the damn as they’re falling because.
Not only that, the one guy that falls from the first time when we see what like, you know, Max Von Synow climbing around the guy that falls from the crevice, like they’re showing.
48:58
Like because it’s not like it’s like on the crappy like aggro Crag basically from the gods that they fall down, but like because he’s falling down, like he falls down off the rocks and he’s falling into a map gaming.
49:14
But then because of you, they got to show like, no, he’s falling a show hit like a doll falling like a bunch of times and then keep reusing him falling from like and it just looks so fucking bad.
Like, no, you’re right, it would have been a hell of a lot.
49:32
And I know you said jokingly, but it would have been a hell of a lot more effective if they just showed him like and then that’s it.
Like you don’t need to have like, look, if you don’t have the budget to have a guy fucking going ass over tea kettle down Grand Canyon, don’t shoot it.
49:50
Yeah, it’s it’s too bad.
I think they had the budget.
I don’t I think they blew it on on certain areas that really Scotch.
Yes, yes, because Richard Burton here is really he is phoning in the performance hard.
He is like I was saying off air, you know he is putting in a very Shatner ass.
50:11
Performance.
I will because yell.
I’m going to yell at you for that.
How dare.
You the delivery is just so uninterested in a lot of areas that it’s just it.
I, I think what I was saying is as Shatner is, you know, like the punctuated phrasing is more just Richard Burton not caring or not even understanding the dialogue that he’s been given.
50:34
So he’s just delivering it and just such a flat affect.
I I, I don’t know, except I can’t talk off the top of my head if I’ve seen any films with Richard Burton in it.
But at the same time, because this film as a whole is so inept, I could I think that could be more like with showgirls, like a John John Borman effect of like, he’s not Richard’s up there.
50:56
Like, show me your little sick girl boobies.
Wait, hold on.
Is that good?
Yeah, sure.
Go ahead.
Yeah, right.
Yeah.
We got a deadline to meet.
We got a like.
I mean, it’s possible.
It’s possible like you said.
51:12
I haven’t seen him because everyone and even like God bless like next one side out coming back for this shit.
Beckle and James rolled.
Why is Ned Beatty here?
Is that where the money went like Ned Beatty and his like 3 minute roll Like like I feel bad because like Linda Blair does do a decent job.
51:37
It’s it’s mixed and model not her fault.
No.
Rachel Byrne totally phones it in but again, is that the direction or is that you know him just three scotches deep into you know the thing Max vine side.
51:53
I was all like off to the, you know, the.
You just get flashbacks, yeah.
So it’s like whatever James Earl Jones does like the best performance because he’s in it for 5 minutes.
So you get Darth Vader at, you know, peak arc Vader.
Kitty Wynn is just like hysterical.
52:11
And then Louise Fletcher is either engaging and smart or incredibly dull and wooden.
So it’s like, I don’t know, like if it’s the direction or not because so are you again, you know, Louise Fletcher’s doctor, Jean Tuskin, she’s either like, on point and like making good points and active or like, who is he talking about?
52:31
Father, Father, have you ever thought about being with a woman?
Yeah, I think that part of the problem is just like, like you said, the overall direction, the overall story of this movie I I believe is most likely it it was cut up a lot or or revised and edited many, many times.
52:51
It just seems like this movie what suffered from a lack of direction and a lack of like they they had a lot of ideas, but they didn’t really know what to do with them.
I think that they were, I think the the intention was probably to go back to the house more than they actually show because we only get, you know, like those two sequences.
53:11
You get the that one where it’s really kind of wasted to to return to it.
It’s very, very thrown away scene.
And then the second one is at the the conclusion.
I feel like there was maybe they meant to go more back to the house and it would have made more sense because then Reagan would have been with her mom.
53:28
I don’t I don’t really know what ended up happening with that idea.
But ultimately there’s a lot of like these these storyline beats that don’t go anywhere.
A good example of that is Reagan having a ridiculous rooftop that she keeps going back to for some reason.
53:44
It has like birds on it.
And that’s really not dived into at all.
I would say that this this building has to be architecturally unsound.
The whole rooftop is like has only like railings every other 5 feet.
54:01
So it’s that seems like a significant hazard.
I like, I can’t imagine that that was under code, but like, I don’t know what they were doing with that part of it.
I like, I don’t.
I don’t quite know why.
They it was, it was the Cartier.
54:16
They didn’t kind of care about the Yeah.
There was no, there was no they.
Had a They had a gas crisis.
I don’t really know why the film has Sharon in it either.
Very well, somebody cares.
Somebody has to watch over our, you know.
I guess, yeah.
Very, you know, I agree.
54:34
It’s not that like again, it’s not that Kitty wins bad per SE, but I think instead of like making it the taboo, you know, like you know, you know, she’s about to turn 18.
Guys, get your bones ready.
So just make her, you know, be 1820 and she’s living alone.
54:54
And yeah, you know, going to college, right?
And going to the psych facility there’s like in a film relies a lot on the whole like Lolita fetish, an idea which is very yeah, for an idea because because they hint at it throughout the film, not only, as you’ll say, because this is like, you know what, we steal your spotlight, but not just the way that they, you know, shoot and film, you know, you know her throughout the film.
55:28
But the fact that like you know, they hint to about Johnny Cash, the father being like I have thought about woman and.
Yeah, I mean, I think that like, again, it, it feels like a Linda Blair fetish movie.
55:45
It’s it’s very it, it’s all, it’s, it’s really creepy when you really stop and think about it.
Because, you know, Linda Blair’s primary role was in The Exorcist playing a young girl.
And here she’s not even 18 years old yet, at least in in real life, she was not an 18 years old.
56:07
And the film is kind of centered around her being a sort of sexual being because at the end of the film, they make her into what Wikipedia calls a succubus.
56:23
And I don’t know if that’s ever really, you know, expounded upon in the movie, but, you know, this whole idea that there’s a sort of like, hypnotic attraction between her as the demon and Father Lamont, I don’t really think the film needs that.
56:42
I think that’s like way over the top for the reading of the movie that we don’t like.
And that comes out of nowhere to that’s like all of a sudden it’s sort of like, oh, and hey, yeah, Well, the demon will be Linda Blair and sexy negligee and Father Lamont will be super attracted in I’d like, I guess.
57:01
Especially, especially especially because starting around, especially because they don’t put any effort into him, like, you know, showing lust and me like, no.
Yeah.
And like, like, they have a little, like, talk of like, wear dark, you know, jeans.
57:18
Like, I’m divorced.
I miss, you know, having company.
Have you ever thought about a woman?
He’s like, Oh yeah, yeah.
Like they don’t, but that’s it.
So they, so they plant the seed, but they don’t do anything with it until the very end.
57:34
And it’s like there’s another.
Scene where he’s, you know, where he’s in Africa and they, they present him with like a woman, right, like a topless woman.
And it’s sort of like a laugh of like he’s a priest.
So he’s, he’s not going to want to do that.
But like here, here’s a woman for it.
So I like, I do think there is this like idea about repressed sexuality, especially in like the Catholic priesthood.
57:56
I don’t think it comes out very well.
Like it’s not if that’s if that’s the point of the movie or, or if that’s a a strong theme, then it was really missed because it, you know, it’s presented a couple times.
But like, I don’t think it’s strong enough to say like, Oh, yes, then that makes total sense at the end of the film when he’s, you know, seduced.
58:14
Which is also which is also too because again, Wikipedia said that like there was supposed to be more of a intimate and rape scene to go away that which would have made a hell of a lot more sense, but she said no.
So good on her.
58:30
But also, if you’re going to do that, like just show his, you know, that, you know, his falling to the demon Pazuzu and his, you know, depravity, He kind of have to do that to have him just kind of jump on her and go.
58:50
And then like you kind of like smooch her on the neck now quick.
And then she’s like get her, get her.
It’s just really awkward.
And it doesn’t it doesn’t fit the narrative as a whole.
It’s his possession, like, which makes the point because the film is called Exodus Tooth, the heretic.
59:11
He’s the heretic.
It’s just it, it doesn’t work like because it’s all very just stilted and yeah, it, you know it.
Never really comes to fruition.
I think that’s part of the problem with the direction is just never really manages to make much sense of the overall proceedings.
59:32
And and I I would say too that like it.
This film is really plotting for two hour movie because it has to deal with all that information.
So halfway through the film, halfway through the film, I thought I was done right.
I was like look check in the timer like oh kind of got it or what?
59:51
Yes.
I mean, again, like you don’t like you.
You don’t have these exorcisms that the film is sort of promising.
You don’t have the main idea or the main point of like what the franchise is meant to be about.
And so it really feels like it has no identification.
1:00:08
To the rest of the franchise or to, I mean, I guess at this point this the first film, but it’s still it, it just doesn’t really feel like it has much of an identity on its own.
But yeah, it doesn’t really manage to conjure any of the ideas of the first film either.
It’s sort of weird in between.
1:00:24
I think it could have been a better film.
I do think it struggles with just expectations of trying to meet some of the, you know, the, the things that people would expect from an Exorcist movie.
I think that a lot of, in a lot of ways it doesn’t like it’s, it’s so focused on like, I don’t think I can pull off the scares that it doesn’t really even try.
1:00:47
It doesn’t really like, you know, set that up at all.
So the horror is kind of missing from the movie and it’s kind of all talk and all dialogue and not a lot of, you know, good set pieces or, or, or scary moments.
1:01:03
We have to talk about the fact that Ennio Morricone is the the composer on this movie.
What do you think about the soundtrack?
Are you serious?
Yes, I’m serious.
Yeah, you didn’t see that?
No, I didn’t see that.
Yeah, Marikoni is the composer for for this movie.
1:01:20
Did he just blow into a trumpet and call?
That’s it.
And then we got Zain.
Yeah, I.
Mean.
The soundtrack is fucking terrible.
Yeah, no, he’s the composer.
He’s so, you know, it’s a combination of sort of like tribal elements from, you know, when we go to Africa and more orchestral arrangements.
1:01:43
I would say that this, you know, regardless of the fact that like this is a weak soundtrack overall, like I don’t I don’t really think it has actually many more Oconee moments where you would sit there and pick out more Oconee moments.
I also think that overall the the use of the soundtrack is pretty weak.
1:02:02
Like, it’s not a really omnipresent thing in this movie.
It doesn’t really come out very often.
So yes, Morty Koney was the composer, but I don’t think it’s really used in a strategic way either.
It’s sort of either there or not there.
1:02:19
And I don’t know, it just doesn’t if if it kind of feels like it’s not put to the best used anyway, even regardless of whether it’s his better work or not.
With her, who the fuck here sitting going, you know, this is the one that the gear scores.
1:02:39
This is it.
It’s because the music isn’t really a music.
It’s more just like, you know, didgeridoo nonsense and you know, it’s overplayed and comes across as really on the nose and annoying, very annoying.
1:03:02
So like I’m you know, you’re watching like especially with the Africa scenes again, it’s like it’s just like just let the moment happen.
Don’t you don’t need to do that.
1:03:18
That’s true.
OK, You know, so I’m ashamed for poor Anyhow, don’t know what he got paid for that but.
Wasn’t enough?
Hopefully so I guess so let’s say.
1:03:34
Do you think this is a difficult film?
Absolutely, Absolutely.
Not one of the better the movies that we’ve covered so far, No, I think that it is definitely a tough film to watch.
1:03:50
At two hours it is.
If you haven’t seen The Exorcist, I think you can get away with it being an annoying watch, but not like a truly difficult film.
You’ve seen The Exorcist.
1:04:06
This film is the film has to be like misery and carnage.
You’re like, look what they’ve done to my boy like an also.
I definitely think that it is difficult in the sense that it’s also difficult to imagine what could have been.
1:04:24
It seems like there could have been a seed of a better movie here, just didn’t turn out that way.
The film is is way over long.
So I think like it’s it’s it’s oddly over long and also not explained enough, which is testament to just over packing it with these ideas, the, you know, strong ideas, the ideas that probably could have been fleshed out better but but didn’t really come to fruition in the movie.
1:04:52
And I think it’s a difficult film because it’s just, you know, it ends up being very boring and it just doesn’t manage to really pull itself together.
So I would agree.
I mean, it’s it’s definitely I don’t would I say it’s the worst movie?
1:05:09
No, it’s watchable enough.
I think.
I, I don’t, I, I, I feel like I’ve seen better or I’ve seen worse movies than this film purports to be, even though it’s, you know, it’s somewhat of a serious movie.
I’ve, I’ve seen worse films, but I think that it is still overall a bad movie.
1:05:29
It’s, it’s, there’s nothing about it that would make me recommend it to anybody.
So with that, no, we have to rate this movie.
So on a scale of a zero to 10, Bjork dreams and moans.
1:05:46
How?
How dare you?
Disparage Bjork like that.
It’s probably more like he’ll go on.
Yes, it’s true.
What would you give Exorcist to the heritage?
I I’d.
1:06:02
Probably give it a 3 1/2 out of time.
This is a really bad movie.
It’s not interesting.
There’s no fun to be had is incredibly dull and boring.
And again, coming off of The Exorcist, which is a great, not just great horror film, but a great film in general.
1:06:22
The fact that they were able to fuck this up so bad.
I can like as somebody, like I wasn’t alive, obviously, but like as somebody of the time, I would feel that pain because it’s like, how what are we doing?
How are you fucking this up?
1:06:38
I could have seen Star Wars A New Hope, I know His New Hope at the time, but I could have seen that again for the 4th time.
It’s just such a painfully bad made film.
Nobody does a good job on acting.
The direction is abysmal, as with any of Morgan Cohen for fuck’s sake, as the composer trash.
1:07:01
It’s just a incredibly sloppily, you know, sloppy made film.
Story has no resonance, it doesn’t make any sense.
It’s just so far gone from the original film and the idea it’s like you had four years to plan this out.
1:07:20
What the fuck happened?
I was beyond bored.
Like I said after the first hour I was like because watching on 2 be so it was like every 10 minutes getting an ad.
But like, when I hit like an hour mark, I’m like, Oh, my God, I still have another fucking hour.
1:07:38
Felt like the film was interminable.
And again, when a film, as you know, on this podcast feels interminable, it’s like the greatest sin of all.
So yeah, 3 1/2, I thought, this is a terrible film.
I will never waste a thought on this again and never revisit it.
1:08:00
And I can see how it kind of got, you know, pinned as one of the worst films of all time because if you’re going to follow up one of the best films of all time, to have this be the film that follows it, it’s, you know, you’re going to be in pain.
1:08:15
So yeah, 3 1/2.
I don’t know if I would go that far.
I’m I’m going to give it a 5 out of 10.
I think like it’s all right.
Like I feel like it’s watchable enough.
I did see somebody comment this and I kind of agreed.
1:08:33
They said this is not a good movie, but it’s a pretty good Italian movie.
I kind of have to, I kind of have to give that one to the movie.
This does really feel like an Italian movie in a lot of ways.
Like an Italian horror movie is sort of like a full G film or one of the knock offs of a, you know, an Exorcist movie.
1:08:58
And when you kind of think about it that way, yeah, I can see it.
I you know, we might again, we might be thinking of this movie a little differently if we had seen like, oh, you know, this is, you know, Claudio Fergasso movie instead.
1:09:14
But you know, like it’s bad, but like I still kind of enjoy it for it’s, you know, it’s goofiness.
And I think that’s really true.
Had the film not had Exorcist in the title and not be a, you know, proposed sequel to the first film and, you know, kind of had some different marketing and stuff like that, maybe we wouldn’t think of this movie as so bad.
1:09:38
But I do think like it overall is it’s not a good movie.
It’s it’s it, it’s too long, it’s too convoluted with the the ideas that it has going on, however smart they do, you know, they they probably were when they were seeds of an idea.
They didn’t really come out in the movie itself.
1:09:55
And I think that overall too, I think there’s this very kind of seedy weirdness to the fact that it there’s this such an obsession with Linda Blair in this movie of, you know, showing her in like these like angelic sort of almost see through pyjama sets and, you know, without bras and like tap, you know, tap dancing without a bra.
1:10:18
And it’s just weird.
And I I don’t really appreciate it.
I think that’s very, very odd to include in this movie about a woman who just was a possessed child.
So with all that said, I think like, it’s not a terrible movie, you know, but I can’t recommend it.
1:10:36
I think it’s, you know, it suffers from all the things that we described, but you might, if you if you put yourself in the right mindset, you might slightly enjoy it.
So 5 out of 10 for me.
All right, well, I guess we we all can’t be as well.
1:10:56
And you know, great shaded Italian slop as you.
That’s true.
Yeah.
Yeah.
All right, Well, thanks for listening to our episode on Extras 2 for difficult films.
We’re going to be back next week with another difficult film to be determined.
1:11:13
Haven’t haven’t yet fully decided on the.
The.
Schedule, so we’re not going to announce it in advance, but we hope you’re enjoying difficult films month a little change up from our usual coverage.
1:11:30
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1:11:47
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1:12:05
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Thanks for listening to our episode on Exorcist 2 The Heretic.
Hope you enjoyed and until next time.
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