‘The Caine Mutiny Court-Marshal’ Trailer: William Friedkin’s Final Film Premieres On Showtime On October 6

J. Kim Murphy Nearly 50 years after William Friedkin’s “The Exorcist” landed in theaters to leg out a run as the highest-grossing feature of 1973, a new sequel to it is opening on top of the box office. Universal’s “The Exorcist: Believer” compelled audiences to the tune of an $11.9 million opening day from 3,663 locations, a number including $2.85 million in previews.

release of “The Exorcist: Believer,” filmgoers will once again witness young, possessed girls blaspheming, shrieking and levitating as their parents try to wrest a godless demon from their bodies.What they likely won’t see, however, is their fellow audience members fainting, vomiting and fleeing the theater in terror. That chaotic scene was what was widely reported to have happened all over the world when “The Exorcist” hit theaters nearly 50 years ago in December 1973.In early 1974, a security guard at a Midtown East cinema described screenings of the horror flick to the New York Times.

the 1954 big-screen classic starring Humphrey Bogart as Lieutenant Commander Philip Queeg, he of the nervously-twirled metal balls and questionable sanity.The movie premieres Oct. 6 on Paramount+ with Showtime (paramountplus.qflm.net/9WG5D0) — and Oct. 8 on Showtime (9 p.m.) — and features an all-star cast, including Kiefer Sutherland as Queeg and the late Lance Reddick, all of whom deliver bravura performances.

EXCLUSIVE: Shane West (A Walk to Remember) and Nikki Roumel (Ginny & Georgia) are currently in production in Illinois on You Don’t Belong Here, a supernatural thriller from director Chris McGowan, which has been granted a SAG-AFTRA Interim Agreement.

“The Exorcist: Believer” hits theaters this weekend, fifty years after the release of William Friedkin‘s 1973 original. And given Friedkin’s passing earlier this year, David Gordon Green will never know what the late director thinks about his film.

Owen Gleiberman Chief Film Critic The sequels — or, in two cases, prequels — to “The Exorcist” have all been unqualified turkeys. There is now a movement at hand to declare that John Boorman’s crackpot insect-swarm fantasia “Exorcist II: The Heretic” (1977) was some sort of misunderstood masterpiece, but that’s an act of revisionism every bit as loony tunes as “Heaven’s Gate” revisionism.

In the long history of horror films since the dawn of cinema, it would be hard to imagine any of them quite having the particular impact of 1973’s The Exorcist which became the first horror film ever to be nominated for the Best Picture Oscar, along with nine other nominations including Best Actress for Ellen Burstyn. It eventually won two Academy Awards for William Peter Blatty’s screenplay based on his 1971 novel, and for the bone chilling Sound work. When I saw it as a young kid in its original incarnation at the National Theatre in Westwood (now no longer existing), there were lines like you have never seen wrapping completely around the block. Warner Bros. even put a nurse on duty in the lobby for those who passed out, no mere gimmick because it actually happened. Nothing I have seen since in the genre has matched that one for me, but it wasn’t for Hollywood not trying. There are countless imitations, even a couple of failed direct sequels including the dreadful 1977 followup, Exorcist II: The Heretic, and the forgettable Exorcist III: Legion in 1990. There have been TV series attempts, an origin angle with Exorcist: The Beginning in 2004, and countless others using the come-on Exorcist in their title. Earlier this year we even had another film, based on the Vatican’s longtime real life demon slayer, The Pope’s Exorcist which thanks to a dedicated performance by Russell Crowe worked quite well on its own terms

Spooky season is officially upon us, and as the nights draw in sooner, what better excuse to watch more TV?

The power of Taylor Swift compels you. And it’s also worked its ways on producer Jason Blum, who cast out his The Exorcist: Believer to an earlier October release date to avoid a clash with Swift’s concert film.

The power of Taylor Swift compels you. And it’s also working its ways on producer Jason Blum, who is casting out his The Exorcist: Believer to an earlier release date to avoid a clash with Swift’s concert film.

Naman Ramachandran Disney’s Agatha Christie adaptation “A Haunting in Venice” stayed atop the U.K. and Ireland box office for the second successive weekend with £1.4 million ($1.8 million), per numbers from Comscore. The film, directed by Kenneth Branagh, where he plays detective Hercule Poirot, now has a total of £4.9 million after two weekends in release.

Indian film star Anil Kapoor, better known in the West for his role in Danny Boyle’s “Slumdog Millionaire” and “Mission: Impossible – Ghost Protocol”, made a splash at the recently concluded Toronto International Film Festival with “Thank You For Coming” – which he co-produces and stars in.

The season two finale for the HBO series Winning Time just aired and only moments after it ended, the show’s creator confirmed it has been canceled.

It’s kinda crazy to think that since 2010 (when he released the massively popular “The Twilight Saga: Eclipse“), filmmaker David Slade has only worked on one feature film, 2018’s experimental Netflix project, “Black Mirror: Bandersnatch.” Sure, over that time, he has worked quite a bit with quality TV series like “Breaking Bad,” “Hannibal,” and “American Gods,” but he hasn’t done really anything in film.

“Dancing With The Stars” Season 32 cast has officially been revealed. Fans already got the news that Charity Lawson, Jamie Lynn Spears, and Ariana Madix were joining the new season.

Elsa Keslassy International Correspondent “Vogter,” a psychological thriller directed by Gustav Möller, whose previous film “The Guilty” won the Audience Award at Sundance, has been pre-sold by Les Films du Losange to multiple territories. “Vogter,” which was just completed and is now in post, has been picked up for Germany, Austria, Switzerland (Ascot Elite), Spain (La Aventura), Italy (Movies Inspired), Japan (Happinet Phantom Studios), Belgium, Netherlands, Luxembourg (Cineart), Estonia, Latvia, Lithuania (Kino Pavasaris) and Hungary (Vertigo). Les Films du Losange has closed these deals since unveiling the project at Cannes and is negotiating further sales in other key territories.

Owen Gleiberman Chief Film Critic Somewhere, at any given moment, there’s a film director adapting a stage play to the big screen. Yet it’s rare, and fascinating, to see a filmmaker steeped to the gills in cinema as cinema who also has a grand obsession with the theater.

Republic Pictures President Dan Cohen and producer Annabelle Dunne were among the main representatives of William Friedkin’s last film The Caine Mutiny Court-Martial at its posthumous world premiere at Venice Film Festival over the weekend.

The upcoming film, “The Exorcist: Believer,” holds significance for film fans for a number of reasons. First, we are just about one month past from the death of the original film’s director, William Friedkin, and secondly, we are 50 years past from the debut of the 1973 classic.

William Friedkin’s last film The Caine Mutiny Court-Martial will make its U.S. premiere on October 6 on Paramount+ with Showtime.