Leave it to studios to force sequels where there’s nothing left to tell—and then rush the production with a pre-set timeline. Considered by many the worst sequel ever made (though it’s found a few admirers, including Martin Scorsese, thanks to how bonkers it all is), Exorcist II is the antithesis of the Oscar-winning original. Its biggest goal seems to be doing the opposite of what The Exorcist did: replacing realism with mysticism, horror with metaphysics, and dread with locust POV shots. The hype was real back in 1977—until the first screening, where people booed and walked out. It’s a legendary flop, one only Joker 2: Folie à Deux would come to rival, almost 50 years later.
Director William Friedkin, screenwriter William Peter Blatty, and Ellen Burstyn all saw that an Exorcist sequel was a misguided idea from the start and refused to return. (Their final impression was that it was one of the worst things they’d ever seen.) Even those who did return came back with limitations that further derailed the project: Linda Blair refused to wear the demon makeup, Max von Sydow agreed only to a minor role (and escaped the film mostly unscathed), and director John Boorman—who had rejected the original as “repulsive”—only signed on because he believed this one could be “redemptive” and “spiritual.”
The result is, predictably, a mess. A sequel that stretches itself into wild narrative gymnastics just to justify its own existence—many of which, in hindsight, actively cheapen the original. It doesn’t make sense as a continuation, nor as a standalone story.
Even if you ignore the fact that it’s a sequel to one of the most acclaimed horror films of all time, there are very few redeeming features. The first “synchronization” hypnosis session is a cool concept that’s visually well executed, and the overall look of the film has merit. The POV shots of flying locusts and the eerie, buzzing sound design help create a mood that’s at least unique. James Earl Jones, dressed in a full locust costume, feels ridiculous—but it’s memorable (his voice alone gives gravitas to anything). And there’s one potentially interesting idea buried deep in the rubble: the suggestion that evil is drawn to the most gifted, virtuous people—an attempt to explain why Regan was targeted in the first place. It’s not well developed, and you have to bend over backward to make it fit, but it’s something.
Still, none of that makes up for how misguided the whole thing is, or how little of it makes sense. There’s no way to believe that Regan has no memory of the first film’s events, or that she would be left so poorly protected in the years since. To its credit, Exorcist II isn’t exactly boring—it occasionally veers into so-bad-it’s-funny territory—and at least it doesn’t just repeat the original. But the goodwill quickly evaporates. What follows is incoherent, unsuspenseful, and completely devoid of impact. By the time the characters return to the MacNeil house at the end, you’re reminded of how great The Exorcist was—and how far this one has fallen.
Exorcise this one from your watchlist.
- 1Sorcerer
- 2Annie Hall
- 3The Ascent
- 4Star Wars
- 5Close Encounters of the Third Kind
- 40Exorcist II: The Heretic#40 of 40
- Where to watch
- Rent or buy at Apple TV Store, Google Play Movies, YouTube, Amazon Video
- Where to watch
- Rent or buy at Apple TV Store, Amazon Video, Google Play Movies
Play trailer
- Original title
- Exorcist II: The Heretic
- Director
- John Boorman
- Genre
- Horror
- Cast
- Richard Burton, Linda Blair, Louise Fletcher, Max von Sydow, Kitty Winn, Paul Henreid, James Earl Jones, Ned Beatty
- Rated
- R
- Screenwriter
- William Goodhart, Rospo Pallenberg
- Composer
- Ennio Morricone
- Cinematography
- William A. Fraker
- Editor
- John Merritt, Tom Priestley
- Country
- Language
- English
- Budget
- $14 million
- Box office
- $30.749 million