The Exorcist: Believer, which stars Leslie Odom Jr. and Ellen Burstyn, has delivered an underwhelming debut at the global box office.
The Big Picture Universal’s big bet on the Exorcist brand isn’t quite paying off just yet, but it’s still early days. Positioned as a direct sequel to the 1973 classic The Exorcist, this week’s The Exorcist: Believer is coming in under expectations both domestically and worldwide, despite the near-unblemished reputation that the original film has been able to hold onto for five decades.
Directed by David Gordon Green, The Exorcist: Believer grossed $27 million in its domestic debut, and another $18 million from more than 50 overseas markets, for a global debut of $45 million. While this was good enough for it to be the top movie in the world , the film is playing more along the lines of a relatively low-key horror title than as a follow-up to a critically acclaimed and commercially successful classic.
Directed by the late, great William Friedkin, The Exorcist delivered a then-record global box office haul of $441 million, which is only $40-odd million more than what Universal reportedly shelled out for the rights to the franchise. The studio intends on making a trilogy of new Exorcist movies, although it is free to monetize the franchise beyond theatrical films.
The Movie Was Cursed With Poor Reviews The Exorcist: Believer was greeted with terrible reviews, and is currently sitting at a “rotten” 23% score on review aggregator Rotten Tomatoes. The movie earned a C CinemaScore from opening day audiences, and a C- from Collider’s Chase Hutchinson. None of this bodes well for the film’s future. Globally, the film’s top market was Mexico, where it debuted with $4 million.
Starring Leslie Odom Jr. as the father of a young girl who disappears in the woods with her friend, the film also brings back franchise star Ellen Burstyn, alongside Anne Dowd, Jennifer Nettles, Norbert Leo Butz, and Lidya Jewett and Olivia Marcum as the two young girls. Coincidentally, the film debuted on the same day as Friedkin’s final film, The Caine Mutiny Court-Martial. Stay tuned to Collider for more updates.
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