David Kittredge's documentary "Boorman and the Devil" arrives as a corrective to decades of critical dismissal. The film examines John Boorman's 1977 sequel "Exorcist II: The Heretic," a picture widely ridiculed since its theatrical release but now recognized as a visionary work of surrealist cinema.
Kittredge positions the film not as a curiosity or camp object, but as a genuine artistic achievement. "Exorcist II" occupies a peculiar space in horror canon. William Friedkin's original "The Exorcist" remains untouchable, but Boorman's sequel, while commercially unsuccessful and critically savaged, possessed an ambition that transcended its troubled production and narrative inconsistencies.
The documentary traces Boorman's directorial vision, his collaboration with screenwriter William Goodhart, and the film's attempt to deepen the theological and psychological dimensions of possession. Rather than repeat the first film's formula, Boorman pushed toward abstraction and visual experimentation. His use of color, sound design, and surreal imagery created something that felt less like a conventional sequel and more like a fever dream.
"Boorman and the Devil" argues that "Exorcist II" deserves reevaluation. Contemporary critics misread the film's formal choices as failures rather than intentional departures. The documentary assembles interviews, behind-the-scenes footage, and film analysis to mount this revisionist case.
The release of this film reflects broader shifts in horror criticism and appreciation. Cult reassessment has become standard practice in film discourse. Works once dismissed as failures frequently find new audiences through restored editions, streaming availability, and critical reframing. "Exorcist II" needed such intervention.
Kittredge's documentary arrives in theaters, signaling that discussions of horror cinema now extend beyond simple quality judgments. The film acknowledges that artistic failure and artistic ambition are not mutually exclusive. Boorman attempted something that most filmmakers would not risk. His failure to