The Exorcist

Friedkin has said the new, expanded version of his film has a more spiritual tone. But it's still a shocker.

Here, in paranoid, bad acid trip form, is the real birth of girl power.

This edition of the seminal example of genre sensationalism refined by the cream of Hollywood craftsmanship is more complicated than a standard director's cut.

Suffice it to say I prefer the original conclusion, and I think most Exorcist fans will agree

Retains the power to turn heads -- and stomachs.

Was and is a brilliant horror film, one with an archetypal ability to reach and disturb us. If I were showing The Exorcist to a friend, I would show the 1973 version without the slightest hesitation.

An upsetting landmark. Don't take the children.

There's something elemental about The Exorcist, even with the new hopeful ending that betrays the bleak original.

A museum piece, something to be enjoyed for its historical value.

Instead of cheap thrills, Schrader gives us a frightening vision of a good priest who fears goodness may not be enough.