The Ninth Configuration (1980)

An abandoned castle is the setting for William Peter Blatty's odd film. Within its walls are a group of Vietnam War-era U.S. soldiers that have been classified as crazy. A new psychiatrist arrives, tasked with finding out if they really are as mad as they appear to be and, if so, to do his best to help them.
The shrink is Stacy Keach and he's amazing in the role, the best I've ever seen him, infinitely more intriguing than many of the colourful patients.
Initially I disliked the film, but the occasional Vonnegut-esque moments kept me seated. Over time I grew more comfortable with the feverish feeling.
A pivotal scene (aprrox 45 mins into the 118 mins vers.) changed everything, thereafter a thematically darker and more theologically complex shadow was cast over all things. I believe a viewer's understanding of the second half will depend greatly on their interpretation of one particular spoken word in said scene, but the differing conclusions that result from it are equally powerful.

3½ second-hand recurrences out of 5

The Exorcist III (1990)

Wisely ignoring the events of Exorcist II (1977), part three takes place fifteen years after the original. It’s written + directed by William Peter Blatty, the author of the novel that started the series. What does a writer know about directing a film? A hell of a lot, it seems. He creates a tightly woven eerie film that's packed with tension, psychological terror and some excellent dialogue.
Brad Dourif is simply amazing as the psychotic vessel.
Studio interference forced a new ending that's abrupt and unnecessary. Had Blatty been allowed to retain the original footage he shot it surely would've been more in keeping with the aesthetic, and potentially could've made part three have almost equal the original film's reputation.

4 invitations to the dance out of 5

The Exorcist (1973)

I don't think it's the scariest film of all time, but it is a disturbing one and an eerie aural experience. It's slow to begin but creeps under your skin, unnoticed, until it settles into your consciousness with an intensity that's very hard to define. Friedkin's direction is almost vérité which adds to the realism and heightens the unease. Unlike many Hollywood films it remains as objective as possible; it doesn't preach or attempt to influence the viewer's established notions of good and evil. It simply is what it is.
The unintentional humour is the only thing that keeps it from being perfect.

4 the pea of soup compels you out of 5