William Friedkin’s THE EXORCIST. Pretty good. Pretty popular. Pazuzu possesses the young lady, she behaves inappropriately according to most forms of etiquette, the two priest guys of different generations say the magic words and die, hooray for everyone. Please note that it’s not called “THE EXORCISTS,” there is only one exorcist of record, so either Father Merrin or Father Karras is getting the shaft in that title. Whichever one you like least. Fuck that guy. Who does he think he’s fooling, trying to be The Exorcist by sacrificing his life for a little girl? Go away, loser, there’s no room for you in this title.
There’s a persistent myth that when she pukes up green stuff it looks like split pea soup. In fact it looks like Nickelodeon slime. If you read the book it’s very clear about that. Anyway – good movie.
There are a handful of beloved classics that are part of what I consider “the modern era” of horror and yet were made before I, a pretty old guy, was born. Of those I’m more attached to PSYCHO, NIGHT OF THE LIVING DEAD and THE TEXAS CHAIN SAW MASSACRE, but THE EXORCIST is a good one too. It’s been around long enough and been considered important enough that arguably one or two people have said one or two things about it, and there might not be much room for new points to be made. But I’m not looking to make a definitive review here. I’m just trying to make one a little less dumb than the first time I wrote about it. (read the rest of this shit…)
Last week I revisited that 2004-2005 period of Tony Scott’s career, when 
When I saw DOMINO on opening day in 2005, I really thought it was the worst shit ever. In fact, at some point I earnestly added a “the worst shit ever” tag to 
In the early ‘80s, the English ad director Tony Scott, fresh off of his movie debut THE HUNGER, wanted to adapt the A.J. Quinnell book Man on Fire. According to some of the vague reports I found, producer Arnon Milchan got some other guy for 
“A kid. I didn’t know it’d be a kid.”
EXPEND4BLES is the official title, not just the internet nickname, for the fourth 
Yesterday when I reviewed 
LOVE AND MONSTERS is pretty much what the title says – the story of a lovestruck young man in a world of monsters. It takes place in a post-apocalyptic California, after 95% of the world’s population of humans has died off and the survivors live in small colonies hiding from giant bugs and reptiles. The filmmakers are wise enough to know that explaining that too thoroughly is for assholes, so it gets brushed over in a couple minutes of introductory narration from our protagonist, Joel (Dylan O’Brien, 
GUY RITCHIE’S THE COVENANT really is the official title of Mr. Ritchie’s 2023 Afghanistan War action drama. You know – in the tradition of 
OPERATION FORTUNE: RUSE DE GUERRE is the first of two Guy Ritchie films released in 2023. They came out so close together because this one was delayed more than a year for reasons reportedly including the pandemic, the bad luck of featuring Ukrainian gangsters right when Ukraine was invaded, and restructuring of distributor STX. I swear I heard it was going straight to video at one point, but then it suddenly hit theaters pretty much out of the blue, with predictably poor response.
