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The Exorcist

The Exorcist

Horror · 1973

When a mysterious entity possesses a young girl, her mother seeks the help of two Catholic priests to save her life.

Movie details

The Exorcist

“Something almost beyond comprehension is happening to a girl on this street, in this house…And a man has been sent for as a last resort. This man is The Exorcist.”

1973 Horror 2h 2m

Critical arithmetic

One number, for now.

TMDB

7.7 / 10

Community rating

When a mysterious entity possesses a young girl, her mother seeks the help of two Catholic priests to save her life.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Exorcist?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

A Nightmare on Elm Street

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Margot is a documentary filmmaker looking to meet her long-lost mother and extended family in a secluded Amish community. She and her film crew soon realize the family that welcomes them into their home might be hiding a sinister secret.

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Saint Catherine

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An orphaned girl is rescued from a satanic ritual and taken to Saint Catherine Institute for homeless youth. There she will learn new skills while facing demons that stalk her.

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Names above the title

The people responsible.

Directed by

William Friedkin

Written by

William Peter Blatty

Ellen Burstyn

Ellen Burstyn

Chris MacNeil

Linda Blair

Linda Blair

Regan MacNeil

Jason Miller

Jason Miller

Father Damien Karras

Max von Sydow

Max von Sydow

Father Lankester Merrin

Lee J. Cobb

Lee J. Cobb

Lt. Bill Kinderman

William O'Malley

William O'Malley

Father Joseph Kevin Dyer

Kitty Winn

Kitty Winn

Sharon Spencer

Court is in session

Put The Exorcist on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Popcorn Loyalist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.