52 Weeks: I have Dreams… of a Rose…
The Exorcist III (1990)
★★★★★★★★☆☆ (8 out of 10 stars)
Director: William Peter Blatty
Producer: Carter DeHaven
Starring: George C. Scott, Brad Dourif, Ed Flanders, Jason Miller, Nicol Williamson
“I have dreams… of a rose… and of falling down a long flight of stairs.” – The Gemini Killer
The Review:
Ah, my dear devotees of dread and disciples of the diabolical, tonight we descend once more into the infernal corridors of Georgetown, where shadows whisper and faith is tested by fire. As part of 52 Weeks of Halloween, I have chosen to explore sequels—those curious cinematic offspring that either rise like phoenixes from the ashes of their predecessors or stumble, malformed, into the abyss of mediocrity.
And now, we turn our gaze to The Exorcist III—a film that, like a forgotten gospel, bears little resemblance to its namesake, yet sings with its own unholy harmony.
Penned and directed by William Peter Blatty, the very architect of the original Exorcist novel, this third installment is less a continuation and more a resurrection. It casts off the clumsy trappings of Exorcist II: The Heretic and instead offers a tale steeped in psychological horror, theological dread, and the cold, clinical terror of a killer who speaks in riddles and scripture.
George C. Scott, ever the thundercloud of gravitas, delivers a performance of weary brilliance as Lieutenant Kinderman. His grief is palpable, his skepticism a shield against the encroaching dark. And then there is Brad Dourif—oh, what a performance! His portrayal of the Gemini Killer is a masterclass in malevolence, delivering one of the most chilling monologues in horror history. His words slither like serpents, coiling around the viewer’s spine.
The film’s atmosphere is thick with dread, its pacing deliberate, like the ticking of a clock in a condemned man’s cell. The hospital setting becomes a cathedral of unease, where the sterile walls conceal unspeakable horrors. And let us not forget that hallway scene—a moment of cinematic sleight of hand that has haunted many a sleepless night.
Yet, for all its strengths, The Exorcist III is not without its scars. Studio interference demanded an exorcism sequence be grafted onto the climax, and while it is competently executed, it feels like a foreign organ in an otherwise cerebral body. Still, the film endures, not as a sequel, but as a standalone sermon on the nature of evil, guilt, and redemption.
So, my curious connoisseurs, light a fresh candle, draw the curtains tight, and let The Exorcist III whisper its blasphemies into your ear. It is a film that deserves to be seen not as a number in a franchise, but as a dark jewel in horror’s crown.
Until next time, may your dreams be free of voices… and your hallways empty.
Nite-nite.
Yes child, there is more…so much more. See what you have missed: T. Glenn Bane’s 52 Weeks of Halloween Index.