Review
Culture
Film & TV
Weirdness
5 min read

When horror is horrifyingly bad

A classic horror film’s sequel deeply disappoints priest Yaroslav Walker, missing opportunities to address psychological and spiritual power.
A man and a women stand looking in the same direction with concerned faces.
Ellen Burstyn and Leslie Odom Jr are concerned about the reviews.
Universal Pictures.

That’s it. I have nothing more to say about the film in this review - The Exorcist: Believer. If you want a proper, knowledgeable, definitive derogatory diatribe against this dreadful waste of celluloid, may I suggest you watch this review by Mark Kermode. The good Doctor loves the original Exorcist more than any other reviewer I’m aware of and is the expert witness you need if you want to understand the absolute abomination this ‘film’ is (and, more importantly, is not!). I don’t have the energy. However, I do have the Church’s authority to speak on matters of faith and doctrine, so instead of my usual theology-smuggle at the end of a review, can we just dive right into it? 

SPOILERS AHEAD – trust me, it doesn’t matter… 

You can’t comment on an exorcism film without reference to the original – The Exorcist. Believer is David Gordon Green making a something of a sequel to the original; this went well with his first Halloween film, and then turned horrifyingly, stupidly bad with the second and third outings (and such treatment is promised for the Exorcist franchise). The Exorcist is a club sandwich of thematic wonder. William Peter Blatty was both a tremendously talented writer and also a thoughtful, intelligent, and committed Roman Catholic. When he wrote the novel of The Exorcist, he created a popular (slightly bloated) theological masterpiece. Adapting the script for William Friedkin to direct, he took the core themes and trimmed all the fat. The result is gorgeously lean, muscular, agile film that moves at a clip and doesn’t allow you a moment to forget the searing questions of faith, and doubt, and family, and failure, and sin. 

Believer raises no such questions. If it has any sort of theme or message it seems to be this. The demonic is there not to sow random chaos, horror, pain and destruction (a good understanding of ‘evil’ as ‘nothing’, very much in keeping with a conception of evil formalised in Western theology by St Augustine almost a few millennia ago, which Blatty presents with perfection). It is there to offer people an ironic monkey’s-paw-esque bargain to reveal their own weakness and hypocrisy…yeh? Believer isn’t just terrible film, and not just a terrible sequel to a remarkable film; it is the lazy desecration of a cinematic theological legacy. 

The original gave a gorgeous visual commentary on the human spirit remaining resilient in the face of evil as the absolute negation of ‘what is’.

To name the overarching source of my incandescence, it is this question: What is the demonic doing in this film? What is it achieving? The original Exorcist is clear – Fr Merrin (the eponymous exorcist) explains that the possession of a child is intended as random, purely nihilistic, awful chaos that grinds down the resolve of righteous. It has no point, no substance – it is genuine ‘evil’, nothingness collapsing in on itself. In Believer the demon seems to be wanting to make a social commentary on parenting…maybe? At the start of the film the voodoo-blessed mother is caught in a building collapse after a Haitian earthquake, and as she lies dying in a makeshift hospital the father is presented with a terrible choice: the surgeon can only save one or the other, mother or baby. SPOILER – he may have a daughter, but he didn’t choose her. There’s another girl who is something of a free spirit with parents who are very light touch. One father didn’t want his daughter, the other doesn’t seem to be too bothered about his daughter having structure…you know? Parents, children, the sins of the father…you know? 

The great climax has the demon(s) presenting the assembled non-exorcists with a choice. Fathers – choose your daughter and she’ll live, first come, first served. One father recognises the immorality, the pointless and annihilating ‘evil’, of letting a girl die, the other doesn’t. He’s been pretty much a non-entity throughout the film, has no real understanding of what is going on, is about as psychologically traumatised as it is possible to be, and is presented with the opportunity to save his daughter…of course he makes the wrong choice…because this is a ‘clever film’…The demon reveals the girl who was chosen will die. TWIST. Didn’t see that coming – admittedly this film is so stupid I didn’t see anything coming. Why? Why let one girl live? Why is this demon – this figure of total and destructive evil – teaching the people a lesson about self-sacrifice and never being willing to sacrifice an innocent? Is the demon making an important point? WHAT IS GOING ON!? Well, the mistakes of Heretic are being repeated, but this is a point for the cognoscenti… 

The original gave a gorgeous visual commentary on the human spirit remaining resilient in the face of evil as the absolute negation of ‘what is’; it ends with a broken man finding his faith and his redemption in a Christ-like act of self-sacrifice (Fr Karras – the junior exorcist – takes the demon into himself and commits suicide). There is, in this final act, a moving and absolute statement on the indomitability of creation (and humanity as the pinnacle of creation) as that which God has willed into being and continues to will ‘to be’. We are here! We are loved! We are to be redeemed! We cannot be seduced by the lie that decay and dissolution and destruction and nothingness is our ultimate destiny. Believer has people stumbling by accident to a conclusion that says nothing about God, or the devil, or heaven, or hell, or faith, or doubt, or family, OR GOOD AND EVIL, or anything serious. 

I despise this film. I pray to God the other two films in the proposed trilogy do not get made. They probably will…maybe that’s not the end of the world. Maybe the inevitable sequels will, in the very fact of their being filmed and released, be a better exposition of the reality of banal and destructive evil, which seeks to find the beauty of ‘what is’ and tarnish it, than their actual stories. Maybe… 

Star rating? At the sight of this film the stars themselves hid… 

Review
America
Books
Culture
Politics
8 min read

James Davison Hunter: diagnosing America’s health

A great experiment is depleted, and nihilism slips into the void.

Roger is a Baptist minister, author and Senior Research Fellow at Spurgeon’s College in London. 

Riot police stand guard outside a White House fence line.
The White House, June 2020.
Angela N., CC BY 2.0, via Wikimedia Commons.

It was unsettling. Disturbing. And in the months since, it has proven to be a powerful and haunting image, etched in my memory. Thinking about it now has exactly the same chilling effect. 

So, it was earlier this year. I was at the cinema with a friend, sitting comfortably and waiting for our movie to start. Our shared love of Sci-Fi had taken us there that afternoon. Not unexpectedly, up pops the reel of trailers. Fast paced, dramatic and with loads of loud music, they’re either enticingly engaging or mercifully short. 

On this occasion the climax of the reel saw America engulfed in a modern-day civil war. And the image?  

A man is pleading, ‘There’s some kind of misunderstanding here, we’re Americans, okay?’  

There’s a pause. The music stops. Silence. It’s a long pause. 

Then the camera pans to a man in military fatigues, with sunglasses and a rifle sitting ominously on his hip, cocks his head and responds: 

‘Okay … [another pause] what kind of American are you?’ 

Guns cocked, the trailer explodes back into life. 

Our movie was really good. My friend’s company, as usual, was delightfully affable. But the image that remains echoes with that question, ‘what kind of American are you?’ 

I have to confess, I love America. I studied there. I have good friends there. I gorge on American food. I watch American football with my son, every week, on a pay-per-view live stream with real US TV ad breaks (‘Go, Pack, Go!’). In my personal experience Americans are some of the kindest, most thoughtful and most generous of people.  

Maybe that’s why I’ve found the image so troubling. Not that it was some kind of fantastical dystopian depiction, but rather that it portrayed something altogether more plausible. Especially in the light of the ‘storming of the Capitol’ on January 6, 2021, the epidemic of mass shootings and the ongoing violent rhetoric on both sides of the political divide. 

How do you square the circle of America? How do kindness and generosity sit alongside gun violence? Is the country on the brink of civil war? 

Back in 1991 the University of Virginia sociologist James Davison Hunter’s book, Culture Wars: the Struggle to Define America suggested that cultural controversies would be increasingly significant in American politics. At the time not everyone agreed and some even pushed back against such an overblown prediction. Time, however, has vindicated Hunter’s reading of the runes. The ubiquity of his ‘culture wars’ epithet is the proof of his pudding. 

Hunter’s latest offering picks up the story once more. Using the present situation in America as a case study, his reflections ‘bookend’ his earlier thinking. However, Democracy and Solidarity is not an extended commentary exploring the rise of populism and the radical right, or the snowflake, woke elitism of the socialist left. Rather, it seeks to understand why the sentence that opens his preface is true: ‘Democracy in America is in crisis.’ 

Grievance and hurt issue in rage, the unchallengeable moral authority of ‘my personal experience!'

For Hunter, understanding what is going on in a culture requires diving deep into the sources it draws on. What forms it? What drives it? All too easily we focus on the observable and what we can see. The stuff that happens and the values, beliefs and institutions that comprise our common life.  

But that is to miss the deeper structures of culture that are formed by our tacit assumptions and the latent frameworks of meaning that nestle unseen and form the cultural architecture that surrounds us. The power of culture is demonstrated by how far it is taken for granted’. 

In an interview Hunter likened his approach to be the difference between weather forecasts and climate studies. Or, to put it another way, moving from ‘the politics of culture’ to ‘the culture of politics.’ 

Beginning at the beginning, Hunter goes to the origin story of the nation. Deeply influenced by the principles of the enlightenment the Founding Fathers of the United States set about their task of nation building. Proposed by John Adams, Benjamin Franklin and Thomas Jefferson in 1776, the national motto on the Great Seal of the United States, E Pluribus Unum (Out of many, one), summed up their political objective. The creation of solidarity. The glue that binds a society together. 

The genius of the Enlightenment in America was that it facilitated this solidarity. What was created was a ‘Hybrid-Enlightenment’, fusing the insights of French and British intellectuals in a context deeply influenced by the faith of religious dissenters, with the Puritans chief among them. The blending of the secular and faith insights from the Enlightenment was what provided its robust inclusivity and durability. For Hunter, this proved key because: 

“In the end, the hybrid-Enlightenment in America was a broad enough and opaque enough amalgamation to encompass substantial diversity and the tensions that diversity implied.” 

This opacity enabled different groups to see themselves in the enterprise and gave wider American society an ability to absorb a plurality of views, opinions, and traditions. A commitment to Enlightenment rationality also then provided the tools whereby differences could be ‘worked through’ in reasoned debate. Thus, the culture was a living thing, growing, evolving and developing. All the time maintaining the wider solidarity, the ‘buy-in’ from the different communities and constituencies that comprise America. 

Opacity also meant that tensions and contradictions were part and parcel of the endeavour from the start. There may have been a promise of freedom, equality and universal justice for all, yet historically these have been denied to large tracts of the American population. But still the centre held, and solidarity was maintained. As Abraham Lincoln presciently reflected in his Second Inaugural Address, given on March 4 1865, shortly before his assassination and the end of the Civil War: 

“[We] read the same Bible and pray to the same God, and each invokes His aid against the other. … [Yet] the prayers of both could not be answered—that of neither has been answered fully.” 

The problem today, as Hunter discerns it, is that the elements of the hybrid-Enlightenment are unravelling.  He sees a number of contributory causes to this escalating collapse.  

Right at the centre is an amoral, materialistic and individualistic neoliberalism which reduces everything to economics and the market. This is deeply corrosive of community and solidarity.  

Then there is the fruit of postmodern scepticism that has filtered down from the intellectuals into the general population. Truth is deconstructed, experts are distrusted and misinformation, disinformation and fake news abound. 

Widespread immigration also plays a part. It intensifies American pluralism and brings into the country those who are unfamiliar with the legacy of the hybrid-Enlightenment and for whom the national mythos of America is either strange or incomprehensible. Far from being taken for granted, their worldview does not fit. 

The growth of identity politics further complicates the unravelling. Solidarity, rather than being found in the national vision, is achieved by defining ‘us’ over and against ‘them’. It doesn’t foster cohesion, it seeds division. Grievance and hurt issue in rage, the unchallengeable moral authority of ‘my personal experience!’ As with Nietzsche, this acts as a narcotic against the hurt, an anaesthetic for the pain.  

Of course, identity politics has no room for reasoned debate and mutual resolution. All that matters is the outcome of the zero-sum game where the justice of my position is both acknowledged and acted upon, and you lose. Whether that identity falls on the political right or left, it doesn’t matter. Family, sexuality, public education, the news media, the arts, the law, electoral politics, you name the issue the game play is the same. 

Solidarity always involves drawing boundaries. Even the hybrid-Enlightenment drew the line between what was acceptable and what was unacceptable. Who was a part of us, and who was not. Without boundaries there is no identity. It is just that now, identity politics require the boundaries to be much more tightly drawn. “What kind of American are you?” 

In all of this, America’s cultural resources for ‘working through’ these issues have been seriously depleted as the hybrid-Enlightenment has unravelled. Into the void, observes Hunter, a form of cultural nihilism slips in. It is far from being all-pervasive, and he maintains that few Americans are nihilists. Yet as a cultural reality he sees it in the prevailing tendencies towards ‘epistemological failure’, ‘ethical incoherence’ and ‘existential despair’. Then, deriving from these he adds a fourth, ‘political annihilation’ and the will to obliterate everything that obstructs acquiring power by destroying enemies completely. 

Does it all seem rather depressing? 

Hunter admits that he has neither proposals nor a plan to address the crisis he so eloquently describes and accounts for. Yet he concludes: 

“… truth be told, I myself am very hopeful – not because I don’t see the seriousness of the problem and its dangerous implications, but because I believe that the times are full of real opportunity if one has the eyes to see them. Sadly, my eyesight is not very good. … [but] without real images of a better world, without myths of a completion of the past in the future, without a world ordered towards goodness, truth, and beauty … We become something like Nietzsche’s ‘last men’.” 

I’m grateful to Hunter. I think I understand my American friends, their country and their present challenges better for his insights. As for the possibility of a civil war, he thinks it’s unlikely as the ‘red and blue’ are too intermingled and economically interdependent across the country. In the meantime, political violence will continue to be a very real threat. 

As for the future he hopes for, it requires a paradigm shift to imagine and articulate a new vision of public life. It needs the cultural resources of a reconstituted humanism, drawing on the rich insights available in a genuinely pluralist society. Resources that embrace the faith wisdom of exemplars like Martin Luther King, Mohandas Ghandi and Thích Nhất Hạnh. Resources that include a retrieval of the fundamental principle of forgiveness. Without the realism to accept that none of us are perfect, we’ll never be able to live together. As the influential political theorist Hannah Arendt wrote in The Human Condition (1958): 

“Without being forgiven, released from the consequences of what we have done, our capacity to act would, as it were, be confined to one single deed from which we could never recover; we would remain the victims of its consequences forever.” 

Arendt’s insight is altogether more telling when seen in the light of her experience as a German Jew under the Nazis. And if forgiveness is too high a bar, at the very least we have to somehow learn to let things go and move on. 

Hunter is under no illusions, such a paradigm shift remains a long haul away.  

But he is hopeful.