The Exorcist DVD Trilogy (1977) |
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The Exorcist movies are a bit of a mixed bag. The first is an absolutely brilliant piece of filmmaking, presented on an excellent DVD. The second is an awful film, presented on a sub-par DVD, and the third is an average film, presented on an average DVD.
If you already own the magnificent The Exorcist: The Version You've Never Seen, I would think very carefully about investing in the box set.
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The Exorcist (Peter Blatty's) (2000) |
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General | Extras | ||
Category | Horror |
Main Menu Audio Listing-Cast & Crew TV Spots-4 Radio Spots-2 Theatrical Trailer-2 Audio Commentary-William Friedkin (Director) Notes-Awards |
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Rating | |||
Year Of Production | 2000 | ||
Running Time | 126:44 | ||
RSDL / Flipper | RSDL | Cast & Crew | |
Start Up | Menu | ||
Region Coding | 2,4 | Directed By | John Birkin |
Studio
Distributor |
Warner Home Video |
Starring |
Rowan Atkinson Mina Anwar James Dreyfus Serena Evans David Haig Rudolph Walker |
Case | Amaray-Transparent | ||
RPI | $36.95 | Music |
Howard Goodall Graham Hutchings Charlie Phillips |
Video | Audio | ||
Pan & Scan/Full Frame | None |
English Dolby Digital 5.1 EX (384Kb/s) English Dolby Digital 2.0 (192Kb/s) Italian Dolby Digital 5.1 EX (384Kb/s) English Audio Commentary Dolby Digital 2.0 (192Kb/s) |
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Widescreen Aspect Ratio | 1.78:1 | ||
16x9 Enhancement |
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Video Format | 576i (PAL) | ||
Original Aspect Ratio | 1.85:1 | Miscellaneous | |
Jacket Pictures | No | ||
Subtitles |
English Italian Icelandic Icelandic Finnish Bulgarian Romanian Arabic English for the Hearing Impaired Italian for the Hearing Impaired |
Smoking | Yes |
Annoying Product Placement | No | ||
Action In or After Credits | No |
The film has generally been hailed as a great horror film, but clearly the continuing passage of time is not being kind to the film. Indeed, I started watching this DVD with a young visitor, and his reaction to the film was quite interesting. When it got to the scene of Regan holding up her night-dress and insisting that the doctors "f*** her", he pretty much fell on the floor laughing. Whilst it is to be admitted that a few later scenes started to have a little bit more impact, there really was nothing here that could really have been called terrorizing. Such is the change in attitudes over the past twenty-eight years that what was a highly disturbing film is nowadays nothing much more than an interestingly provocative film. That is not to diminish the stature of the film, for it certainly remains the best thing that William Friedkin has done and a classic of its era and genre. It simply does not now have the utterly disturbing nature to warrant an R rating: I have seen far more disturbing films given an MA rating.
Since the film in its basic form has already been reviewed and the broad story has not changed in any way, if you wish to read a synopsis of the film and the performances contained therein, I suggest you read the earlier review. I certainly have no intention of rehashing those general comments since they remain basically unaltered. I also have no intention of detailing every mortal piece of restored footage either, for the simple reason that I don't see any great point in doing so. At the end of the day, I do not know the film that well and therefore would not be able to vouch for every inserted piece of footage anyway.
All I am really going to concern myself with is whether or not the restored footage results in a better or worse film, and to be very blunt I have to admit that I really do not believe that the extended version of the film is any great improvement over the original.
Certainly the added footage of the initial doctor's visit is appreciated as it makes more sense when in the later scene Regan asks what is wrong with her and Chris's reply refers to the visit. The spider walk footage however is less successful, especially as it only includes the walk down the stairs and does not include the bit where Regan chases Chris. That bit seems to have been replaced by a rather noticeable extended black scene change. Overall, it does not add anything to the film in my view and therefore is a pointless restoration. The revised opening sequence is a bit pointless until you hear William Friedkin's reasoning for the change and basically my reaction was "big deal".
At the end of the day, is the revised version an improvement? Not really and I would suggest that if you already own the original Special Edition, there is not much point in trading it in. If you don't own the film yet, then I suppose the choice gets down to whether you want a better extras package or an extended film. My vote is with the better extras package, so I would advise that you grab a hold of the Special Edition version if you see it.
The transfer is presented in an aspect ratio of 1.78:1, and it is 16x9 enhanced.
Whilst there are still some rather obvious problems with the transfer, most notably some rather grainy patches most especially during the second half of the transfer, the restoration has in general resulted in a sharp transfer with some rather nice definition. I continue to be impressed by the level of detail earlier on in the film and the attic scene remains a standout. The restored footage fits in very well to the film and really does not stand out as being "new". I would suspect that there has been no additional work done on the source material other than to include the extra footage and the overall result is very much in accordance with the restored original version of the film. Shadow detail is very good for a film of this age. Clarity is generally pretty good until the grain starts setting in. Overall, this remains a reasonably impressive transfer.
There is still no improvement in the colour palette on offer here and the nicely muted style of colour remains. This suits the film well and is quite believable. The only issue I really have with the colours is the fact that the blacks could perhaps have been a little more solid and even in tone, but that might be expecting too much in a film of this age. There is no problem with oversaturation in the colours at all, although there are some indications of colour bleed in the titles - nothing too serious though.
There did not appear to be any significant MPEG artefacts in the transfer. There remain some problems with minor film-to-video artefacts, with a number of instances of aliasing here and there. These tend to be more noticeable during the first half of the film, and examples can be found at 8:03, 17:48, 18:22 and 21:47. There is also an instance of wobble in the image at 101:48. This is not really noticeable at all and is not especially distracting to the film. There remains a suitably impressive lack of film artefacts in the transfer.
In the absence of noting any layer change during the programme, I would be tempted to suggest that this is a Dual Layer DVD. However, given the length of the film, I would suspect it is more of a question that I missed (sorry, failed to detect) the layer change.
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Obviously with the Dolby Digital 5.1 EX soundtrack, this has been completely remastered and a more impressive sounding soundtrack it is as a result.
The dialogue was generally clear and easy to understand throughout, still bearing in mind that some sequences involving the possessed Regan are supposed to be very guttural and thus a little indistinct. There does not appear to be any problem with audio sync in the transfer.
The score is comprised of excerpts from relatively contemporary classical music by the likes of Krzysztof Penderecki and Hans Werner Henze, complemented by the originality of the well-known Mike Oldfield piece Tubular Bells. A most effective score, highlighted by now being able to hear the repeated Tubular Bells motif during parts of the film where it was previously not able to be heard.
The big improvement in the Dolby Digital 5.1 EX soundtrack is in better use of the surround channels: there is distinctly more ambient noise through the rear channels especially. I would imagine that if you have EX capability, you are in for something of a treat here. The overall soundtrack seems to be much more open and clear, with a more natural balance to it. The bass channel still does not get a lot of overt use, but the overall feel it gives to the soundtrack is again much more natural. The overall result is to provide a somewhat more spooky feel to the film at times as the sound effects are much more obvious in the overall mix.
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Overall |
NOTE: To view non-R4 releases, your equipment needs to be multi-zone compatible and usually also NTSC compatible.
Video | |
Audio | |
Extras | |
Plot | |
Overall |
Review Equipment | |
DVD | Pioneer DV-515, using S-Video output |
Display | Sony Trinitron Wega (80cm). Calibrated with Video Essentials. This display device is 16x9 capable. |
Audio Decoder | Built in to amplifier/receiver. Calibrated with Video Essentials. |
Amplification | Yamaha RXV-795 |
Speakers | Energy Speakers: centre EXLC; left and right C-2; rears EXLR; and subwoofer ES-12XL |
Exorcist II: The Heretic (1977) |
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General | Extras | ||
Category | Horror |
Main Menu Audio Listing-Cast & Crew Alternative Version-Alternate Opening Teaser Trailer Theatrical Trailer |
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Rating | |||
Year Of Production | 1977 | ||
Running Time | 112:50 | ||
RSDL / Flipper | RSDL (39:38) | Cast & Crew | |
Start Up | Menu | ||
Region Coding | 2,4,5 | Directed By | John Boorman |
Studio
Distributor |
Warner Home Video |
Starring |
Linda Blair Richard Burton Louise Fletcher Max Von Sydow Kitty Winn Paul Henreid James Earl Jones Ned Beatty Belinda Beatty Rose Portillo Barbara Cason Tiffany Kinney Joey Green |
Case | ? | ||
RPI | Box | Music | Ennio Morricone |
Video | Audio | ||
Pan & Scan/Full Frame | None |
English Dolby Digital 1.0 (192Kb/s) French Dolby Digital 1.0 (192Kb/s) Italian Dolby Digital 1.0 (192Kb/s) |
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Widescreen Aspect Ratio | 1.78:1 | ||
16x9 Enhancement |
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Video Format | 576i (PAL) | ||
Original Aspect Ratio | 1.85:1 | Miscellaneous | |
Jacket Pictures | No | ||
Subtitles |
English French Italian German Spanish Arabic Bulgarian Romanian Dutch English for the Hearing Impaired Italian for the Hearing Impaired |
Smoking | Yes |
Annoying Product Placement | No | ||
Action In or After Credits | No |
Sequels to classic films often stumble. Many sequels flounder while trying desperately to find a purpose, other than being a shameless box-office money grab. The Exorcist II: The Heretic is part-prequel/part-sequel, and attempts to be original, yet ultimately it comes off as being silly and pointless.
Released in 1973, the Academy Award winning The Exorcist was a critical and commercial success. Even recent polls still list it as being one of the "scariest movies ever made". But The Exorcist was much more than that. With an excellent script, based on a great novel (and a true story), and a movie that exhibited superb direction, acting, photography, editing, art direction, and special/make-up effects, The Exorcist remains a brilliant movie, and an absolute 'corker' of a DVD (I'm referring to the digitally remastered The Exorcist: The Version You've Never Seen). Even though grossly vulgar and crude at times, the movie was stylish and classy (never B Grade), and featured unforgettable and startling visual and aural imagery.
Exorcist II: The Heretic is set in New York a few years later. Regan (Linda Blair) is now a young woman, and regularly visits a psychiatrist, Dr Gene Tuskin (Louise Fletcher), to help her cope with her bad dreams. Meanwhile, Father Lamont (Richard Burton) is asked by the Church to investigate the death of Father Merrin (Max Von Sydow), i.e. the events of The Exorcist, and this brings him into contact with both Regan and Dr. Tuskin. Using Tuskin's synchroniser machine, which "syncs minds", Lamont delves into the repressed memories of Regan. As he does so, Lamont also explores the background of Father Merrin, and his years spent as a missionary in East Africa.
Exorcist II: The Heretic features some of the all-time greatest screen-actors (Louise Fletcher, Richard Burton, Max Von Sydow, and James Earl Jones) in some of their worst performances. I can only blame the truly awful direction by John Boorman. This is a really amateurish effort - for example, Boorman feels the need to spoonfeed the audience, and thus spells out everything at least twice. The movie also includes some lousy special effects and unrealistic models and sets.
The grainy transfer is acceptable, but really shows its age.
The transfer is presented in an aspect ratio of 1.78:1, 16x9 enhanced.
The sharpness is acceptable, but the shadow detail is lacking. For example, consider the murky scene at 28:16. The colours are muted, and exhibit a grey/orange tint. The skin tones have a brownish hue.
There are no problems with MPEG or film-to-video artefacts, but small film artefacts appear throughout.
The English subtitles are accurate to the spoken word.
This is an RSDL disc, with an awkward layer change (during a character speaking) placed at 39:38.
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Exorcist II: The Heretic bombed at the box office internationally, and hence no loving restoration or remixing work has been done to the original mono audio.
There are three audio options on this DVD: English Dolby Digital 1.0 (192Kb/s), French Dolby Digital 1.0 (192Kb/s), and Italian Dolby Digital 1.0 (192Kb/s). The English version is the default audio.
The dialogue quality is clear, but the audio sync is often out, such as at 9:26.
The musical score is credited to the accomplished Ennio Morricone, and it is a suitably creepy score. Sadly, however, Mike Oldfield's Tubular Bells are nowhere to be heard.
As a mono audio track, there is no surround sound or subwoofer activity.
Dialogue | |
Audio Sync | |
Clicks/Pops/Dropouts | |
Surround Channel Use | |
Subwoofer | |
Overall |
The extras are very slim.
A simple menu.
Cast and Crew
A text-based list of the principal cast and crew.
Alternate Opening
Narrated by Richard Burton against a series of stills, the events of The Exorcist are told in summary. More spoon-feeding by Boorman. I'm glad this short segment was cut.
Teaser Trailer
Presented in an aspect ratio of 1.78:1, 16x9 enhanced, with Dolby Digital mono audio.
Theatrical Trailer
Also presented in an aspect ratio of 1.78:1, 16x9 enhanced, with Dolby Digital mono audio.
NOTE: To view non-R4 releases, your equipment needs to be multi-zone compatible and usually also NTSC compatible.
The R1 and R4 are identical, except for some of the subtitles and the inclusion of an Italian audio option with the R4. Of course, there is also the PAL/NTSC difference, but I would call it pretty even.
As a movie, The Exorcist II: The Heretic lacks the style and substance of its predecessor. As a DVD, it also lacks the beautifully restored transfer and the English Dolby Digital 5.1EX audio of its predecessor. Indeed, it's just downright disappointing all-round.
The video quality is acceptable.
The audio quality is severely limited and mono.
The extras are really not worth mentioning.
Video | |
Audio | |
Extras | |
Plot | |
Overall |
Review Equipment | |
DVD | Pioneer DV-535, using S-Video output |
Display | Grundig Elegance 82-2101 (82cm, 16x9). Calibrated with Video Essentials. This display device is 16x9 capable. |
Audio Decoder | Built in to amplifier/receiver. Calibrated with Video Essentials. |
Amplification | Sony STR DE-545 |
Speakers | Sony SS-V315 x5; Sony SA-WMS315 subwoofer |
The Exorcist III (1990) |
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General | Extras | ||
Category | Horror |
Main Menu Audio Theatrical Trailer |
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Rating | |||
Year Of Production | 1990 | ||
Running Time | 105:19 | ||
RSDL / Flipper | RSDL (46:23) | Cast & Crew | |
Start Up | Menu | ||
Region Coding | 2,4,5 | Directed By | William Peter Blatty |
Studio
Distributor |
Warner Home Video |
Starring |
George C. Scott Ed Flanders Brad Dourif Jason Miller Nicol Williamson Scott Wilson Nancy Fish George Dicenzo Don Gordon Lee Richardson Grand L. Bush Mary Jackson Viveca Lindfors |
Case | ? | ||
RPI | Box | Music | Barry De Vorzon |
Video | Audio | ||
Pan & Scan/Full Frame | None |
English Dolby Digital 5.1 (384Kb/s) German Dolby Digital 5.1 (384Kb/s) Spanish Dolby Digital 5.1 (384Kb/s) |
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Widescreen Aspect Ratio | 1.78:1 | ||
16x9 Enhancement |
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Video Format | 576i (PAL) | ||
Original Aspect Ratio | 1.85:1 | Miscellaneous | |
Jacket Pictures | No | ||
Subtitles |
English German Spanish Swedish Norwegian Danish Finnish Polish Czech Turkish Hungarian Icelandic Croatian French Italian English for the Hearing Impaired German for the Hearing Impaired |
Smoking | Yes |
Annoying Product Placement | No | ||
Action In or After Credits | No |
A critical and commercial diaster, The Exorcist II: The Heretic, appeared to be the last Exorcist movie. However, after the passing of many years, the original author of the Exorcist novel, William Peter Blatty, managed to revive the franchise with The Exorcist III.
As I wrote in a previous review, "released in 1973, the Academy Award winning The Exorcist was a critical and commercial success. Even recent polls still list it as being one of the "scariest movies ever made". But The Exorcist was much more than that. With an excellent script, based on a great novel (and a true story), and a movie that exhibited superb direction, acting, photography, editing, art direction, and special/make-up effects, The Exorcist remains a brilliant movie and an absolute 'corker' of a DVD (I'm referring to he digitally remastered The Exorcist: The Version You've Never Seen). Even though grossly vulgar and crude at times, the movie was stylish and classy (never B Grade), and featured unforgettable and startling visual and aural imagery . . . As a movie, The Exorcist II: The Heretic lacked the style and substance of its predecessor. As a DVD, it also lacks the beautifully restored transfer and the English Dolby Digital 5.1EX audio of its predecessor. Indeed, it's just downright disappointing all-round".
Made almost twenty years after The Exorcist, The Exorcist III reprises the characters of Lt. William 'Bill' Kinderman (George C. Scott) and Father Joseph Kevin Dyer (Ed Flanders), but with new actors in the roles. Jason Miller returns in an all-too-brief appearance as Father Damien Karras, but there is no Regan (Linda Blair) or Father Merrin (Max Von Sydow) to be seen. Based on William Peter Blatty's novel Legion, and written and directed by Blatty himself, The Exorcist III has actually very little to do with the events of The Exorcist. Indeed, it is a completely separate story, and I wonder if this movie would have been green-lit at all without the tie-in to a commercially successful movie.
The plot of The Exorcist III is a simplistic detective story, tarted up with some supernatural elements: Kinderman is investigating a series of gruesome murders which resemble the work of an executed serial killer, The Gemini Killer (Brad Dourif). His investigations lead him to the disturbed ward in a local hospital. In this ward Kinderman is startled by what (and who) he finds . . .
Strangely, Blatty has taken a few liberties with his original Exorcist story and film. For example, now Kinderman and Karras are presented as having been best friends, whereas the two characters only met briefly in The Exorcist before Karras' untimely 'death'. The changes made are not crucial to the story, but will leave some Exorcist fans, like me, scratching their heads.
If The Exorcist II: The Heretic was flogging a dead horse, then The Exorcist III is flogging its decomposed remains.
The transfer is quite decent overall, and presented in an aspect ratio of 1.78:1, 16x9 enhanced.
The sharpness is good. For example, consider the detailed and textured shot of Kinderman's face at 13:46. However, the shadow detail is variable, and often poor such as at 37:08. The colours are excellent, and colour is used effectively in the story-telling.
There are no problems with MPEG or film-to-video artefacts, but tiny film artefacts appear throughout. There is some very slight telecine wobble on occasion, such as at 24:02
The English subtitles are simplified, but accurate.
This is an RSDL disc, with a slight pause during the layer change at 39:38.
Sharpness | |
Shadow Detail | |
Colour | |
Grain/Pixelization | |
Film-To-Video Artefacts | |
Film Artefacts | |
Overall |
While not matching the aural intensity of the beautifully digitally remastered The Exorcist: The Version You've Never Seen, there is a decent audio mix here.
There are three audio options on this DVD: English Dolby Digital 5.1 (384Kb/s), German Dolby Digital 5.1 (384Kb/s), and Spanish Dolby Digital 5.1 (384Kb/s). The English version is the default audio.
There are no problems with either the dialogue quality or the audio sync.
The musical score is credited to the Barry Devorzon, and it is minimal but effective. Having been left out of The Exorcist II: The Heretic, Mike Oldfield's Tubular Bells also makes a welcome return.
The surround sound mix is very subtle and very stereo-surround like, but there are some gently enveloping effects such as the rain through the rears at 48:17. The subwoofer is called upon frequently, such as with the ominous rumbles during the dream sequence at 25:22.
Dialogue | |
Audio Sync | |
Clicks/Pops/Dropouts | |
Surround Channel Use | |
Subwoofer | |
Overall |
The extras are very slim.
A simple menu.
Theatrical Trailer
A 'teaser trailer' presented in an aspect ratio of 1.78:1 16x9 enhanced, with Dolby Digital stereo-surround audio.
NOTE: To view non-R4 releases, your equipment needs to be multi-zone compatible and usually also NTSC compatible.
The Exorcist III has been previously released in R1.
The Region 4 DVD misses out on:
The Region 1 DVD misses out on:
While the features are similar, I would favour the R4 for the dual-layered disc.
The Exorcist III promises a lot, but delivers little. While there are a few scares here and there, the overall film seems to meander, lacking tension, purpose, and even a coherent storyline.
The video quality is reasonable.
The audio quality is good.
The extras are really not worth mentioning.
Video | |
Audio | |
Extras | |
Plot | |
Overall |
Review Equipment | |
DVD | Pioneer DV-535, using S-Video output |
Display | Grundig Elegance 82-2101 (82cm, 16x9). Calibrated with Video Essentials. This display device is 16x9 capable. |
Audio Decoder | Built in to amplifier/receiver. Calibrated with Video Essentials. |
Amplification | Sony STR DE-545 |
Speakers | Sony SS-V315 x5; Sony SA-WMS315 subwoofer |