2. The Exorcist III: Legion (1990)
Thirteen years after the original, William Peter Blatty returned to adapt his own work for the screen. The Exorcist III: Legion follows Lieutenant William F. Kinderman, played by George C. Scott, as he investigates murders echoing a notorious serial killer. Rather than rely on spectacle, Legion is literate and dialogue-driven, favoring psychological dread and character over cheap shocks.
Brad Dourif delivers a chilling, focused performance as the killer, even while confined to a cell, and the film captures a moody visual palette that nods back to the original. Its restraint and willingness to unfold slowly make it a highlight of the series, though studio-mandated reshoots and a somewhat convoluted detective plot dilute its impact. Still, Legion remains a striking, ambitious entry—an uneven gem that frequently succeeds.
1. The Exorcist (1973)
The original is, unsurprisingly, the definitive film in the series. It remains the primary touchstone for exorcism movies and the depiction of possession. Iconic moments—the head movements, projectile vomiting, the staircase scene—are seared into the cultural imagination. Beyond shocks, the film’s power comes from its slow-building dread and the careful accumulation of evidence that something profoundly wrong has taken hold of Regan MacNeil.
At the story’s emotional core is Father Damien Karras, tormented by guilt over his mother’s death and struggling with a crisis of faith. His internal conflicts fuel the drama: the battle is as much spiritual and moral as it is supernatural. The demon’s assault forces characters to confront the darkness within themselves and in human relationships. The film translates Blatty’s thematic concerns—about cruelty, human fallibility, and the small, corrosive acts that can seem like possession—into visceral cinematic form.
“I tend to see possession most often in the little things, Damien: in the senseless, petty spites and misunderstandings; the cruel and cutting word that leaps unbidden to the tongue between friends. Between lovers. Between husbands and wives. Enough of these and we have no need of Satan to manage our wars; these we manage for ourselves …for ourselves.”
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After fifty years, The Exorcist remains essential viewing; the remainder of the franchise is more uneven. Which of these films do you think deserves more recognition? Did you find merit in any lower-ranked entries? Share your thoughts and follow @thefilmagazine on social platforms for updates and more curated movie lists.