Giáng Ma Thiên Sư The Exorcist (2022)

'The Exorcist: Believer', directed by David Gordon Green, endeavors to rekindle the primal terror of William Friedkin's 1973 masterpiece. Yet, it largely succumbs to the modern horror paradigm of jump scares, lacking the nuanced psychological depth and subtle dread that defined its predecessor. Green attempts to expand the demonic possession lore, but often sacrifices genuine character development for a more formulaic narrative.

The return of Ellen Burstyn as Chris MacNeil provides a poignant emotional anchor, her performance imbued with the gravitas of past trauma. While younger cast members like Lidya Jewett and Olivia O'Neill deliver committed performances, they struggle to fully escape the shadow of iconic portrayals. Technically, the sound design remains unsettling, and the practical effects during possession sequences are commendable. However, 'Believer' ultimately positions itself as a serviceable, albeit nostalgic, entry in the supernatural horror canon, failing to forge a distinctive identity within the immense legacy of the original. It misses an opportunity for deeper explorations of faith and intergenerational pain, settling instead for familiar genre conventions.