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The Exorcist, with its excellent cast, mounting intensity, and ingeniously constructed surprises, is still a commanding achievement.

The movie that launched a new era in horror films, and which, for one generation, remains one of the scariest experiences of their lives.

The Exorcist, like most memorable Hollywood movies, gains its power from the way it mixes opposites: new-style realism and sexual radicalism, old-style horror and religion.

When I first saw The Exorcist, I saw only the literal side of the story. But as I watched it again, I began to view the movie as a dark fairy tale about a parent whose child is experiencing a painful trauma.

Von Sydow, Blair and Mercedes McCambridge (the originally uncredited actress who dubbed Regan's gross mutterings) are flat-out terrific.

Aall The Exorcist does is take its audience for a ride, spewing it out the other end, shaken up but none the wiser.

Karate kid 2. Without a doubt, 'The Exorcist' is a touchstone in horror, seemingly incapable of taking a wrong step. Watching with the lights off is strongly encouraged. Turning them back on immediately afterwards will be a necessity.

The Exorcist runs out of steam long before reaching its decidedly low-key (and somewhat anticlimactic) finale..

A work of cinema in its own league.

[Friedkin] knew he wasn't making art; he was concocting gross-out pop -- a movie so 'scary' it borders on being silly.

Less a cleverly spun story than a disjointed collection of shockeroos, surrounding a few ghoulishly effective moments with overcooked plot twists and in-your-face vulgarity.

William Friedkin's adaptation of William Peter Blatty's novel, with a screenplay by the author, is a dead-serious meditation on the struggle between good and evil.

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The serious Catholic themes that made the original film genuinely disturbing have been flattened out into a cartoonish backstory pitting Merrin against Nazi storm troopers.

Reams of tedious exposition finally give way to a random jumble of horror movie clichés, rising to a shrill pitch of hysteria that is never remotely frightening.Cara registrasi kartu telkomsel.

Blood, flies, maggots, ravenous hyenas, power failures, grave-digging and much ineffectual voodoo ensue.

As shocking as an Dokken album cover and, finally, as pious as The Passion of the Christ.

Never feels like anything other than generic, brain-dead, Dolby-jolt, multiplex hackwork -- I kept expecting Skarsgard's habitually catacomb-prowling Merrin to bump flashlights with Lara Croft.

It rates fairly high on both the Scare-O-Meter and Gross-Out Scale, with an early hyena attack guaranteed to have you flinching in terror.

Brutal. Not for kids.

Contrived, cliché, murky, muddled, and an utterly gory mess..

More than 30 years after the original hit screens, along comes the very best of the sequels.

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Most of the movie feels nothing like an Exorcist film.

This is not horror. It's sadism.