Blatty’s classic ‘The Exorcist’ raised the bar for screen horror

THE EXORCIST (1973)

By TERRY R. CASSREINO

Rarely does a major motion picture succeed in frightening you while also challenging your core beliefs.

William Peter Blatty’s “The Exorcist” does just that. It’s an extremely effective and frightening film. It’s well directed by a film maker at the top of his game. And it’s a classic motion picture that has never been topped.

“The Exorcist” also is one of the most intently personal and religious stories ever put to film. This film firmly believes in the existence of good and evil, of God and Satan, and it dares you to do the same.

William Friedkin was fresh off directing the award-winning “The French Connection” when he took on Blatty’s best-selling novel. Blatty produced the film and wrote the script – which was based on the true story of the exorcism of a young boy.

As the “The Exorcist” opens, a little girl and her mom are living in a rental home in Georgetown when strange things begin to happen. Eventually, Chris MacNeil begins to believe her daughter, Reagan, is possessed by a demon. Beds levitate, bodies fling, heads spin 360 degrees. And you believe it all.

Top Five Week at Sneak Prevue continues. Today’s edition: The Top Five Horror Films.

Nothing can top the disastrous excess of ‘Exorcist 2’

EXORCIST 2: THE HERETIC (1977)

By TERRY R. CASSREINO

Between Richard Burton’s bizarre overacting and the incomprehensible and totally preposterous plot, “Exorcist 2: The Heretic” makes you wonder what the film makers were thinking.

Director John Boorman and company faced an uphill battle from the start: They attempted to create a sequel to the most frightening horror film of all time. That they failed is no shock.

What is surprising, however, is the depth of the failure. From the acting to the writing, directing and special effects, this movie is a major, high-profile train wreck.

Boorman frantically tried to salvage the film by re-editing it days after its initial release. But his efforts made a disastrous film worse. “Exorcist 2: The Heretic” is, without a doubt, the single-worst motion picture sequel ever to grace the big screen.

Welcome to Top Five week at Sneak Prevue. Today’s edition: The Top Five Worst Film Sequels.

Friedkin returns to the streets with ‘To Live and Die in L.A.’

TO LIVE AND DIE IN L.A. (1985)

By TERRY R. CASSREINO

By winning the Oscar for “The French Connection” in 1971 and following it two years later with “The Exorcist,” William Friedkin made a name for himself as one of the best, most successful young film directors of his time.

Then came a string of misses. A long string of misses. In fact, Friedkin’s spotty career has produced a host of disasters that include the killer tree film “The Guardian” and a so-so cable television remake of “12 Angry Men.”

Friedkin recently finished his first film in five years, “Killer Joe,” set for release later this year; the film is about a man in debt who decides to kill his mother for the insurance. With a cast that includes Matthew McConaughey and Emile Hirsh, Friedkin hopefully will regain his voice.

Until then, you have go back almost 26 years to find the last great film Friedkin directed. “To Live and Die in L.A.” hit movie screens in November 1985 – the first Friedkin crime drama since “The French Connection.” While the action this time is on the West Coast, “To Live and Die in L.A.” is just as riveting and exciting.

Original ‘Taking of Pelham One Two Three’ tops insipid remake

THE TAKING OF PELHAM
ONE TWO THREE (1974)

By TERRY R. CASSREINO

From the thumping, repetitive bass line of the main title theme to the gritty New York City atmosphere, “The Taking of Pelham One Two Three” remains one of the screen’s most successful crime thrillers.

Of course, I’m referring to the 1974 original film – not the pointless 2009 remake featuring Denzel Washington and John Travolta, an unsuccessful and totally unnecessary exercise.

“The Taking of Pelham One Two Three,” based on the book of the same name by John Godey, tells the gripping story of a group of heavily armed men who hijack a New York City subway and hold its passengers for ransom.

Meanwhile, Lt. Zachary Garber of the New York City Transit Authority leads efforts above ground to negotiate with the terrorists, secure the $1 million ransom and rescue the passengers. The back-and-forth play, above and below ground, heightens the film’s tense suspense.