The Exorcist III – A Criminally Overlooked Masterpiece of Religious Horror

The Exorcist III doesn’t just live in the shadow of the original—it quietly steps out of it and, in many ways, surpasses it. It’s one of the most underappreciated horror sequels ever made, and to me, it’s actually the better film. Less about shock value and more about slow-burning dread, this movie blends theological horror with psychological tension in a way that sticks with you long after it’s over.

What really sets this one apart is its focus on deeper religious themes. Instead of spinning heads and green vomit, we get a thoughtful, disturbing exploration of faith, evil, and guilt. The conversations between good and evil are heavy, layered, and uncomfortable in the best way. There’s a real weight to what’s happening, and the horror doesn’t just come from the supernatural—it comes from the spiritual crisis at the core of the story.

George C. Scott gives a phenomenal performance—grizzled, broken, but still fighting to understand the darkness he's facing. And Brad Dourif? Absolutely haunting. The prison cell scenes between the two are some of the most intense and well-acted moments in horror, period. This isn’t just a scary movie—it’s a well-acted film that happens to be terrifying.

It’s also fascinating to note that this movie was based on William Peter Blatty’s own novel Legion, and in a lot of ways, Exorcist III feels more like a direct continuation of the original book than a typical horror sequel. Unfortunately, because of the infamously bad Exorcist II: The Heretic, this movie never got the attention or credit it truly deserved. It had to fight through the stink of a franchise that was already seen as “ruined,” which is a shame—because this is the real spiritual successor.

And yes, it still delivers one of the scariest jump scares ever put on film. That hallway scene is all I need to say!

Exorcist III is smart, eerie, and surprisingly powerful. It takes its time, trusts its audience, and gives us a horror story with soul. It deserves a place at the top of the genre—not just as a great sequel, but as a great film.