Goodbye To A Legend: William Friedkin

TELEVISION DOCUMENTARY

Wilmer Butler (cinematography)
Glenn McGowean (editor)
Marty Rubenstein (music)
60 minutes
Budget: $6,000

Paul Crump, age 22, was caught up in a failed robbery with four other black men and was sentenced to die in the electric chair. Friedkin so believed in Crump’s innocence that he made The People vs. Paul Crump in order to save his life.

Won the Golden Gate Award Winner for Film as Communication at the 1962 San Francisco International Film Festival.

“My first film was ‘The People vs. Paul Crump.’ It was instrumental in saving a man on death row.”
— William Friedkin (Washington Post, 1986)

TELEVISION DOCUMENTARY

David L. Wolper (producer)
Don Bresnahan (writer)
Van Heflin (narrator)
52 minutes

About men who are courageous enough to risk their lives undertaking challenges, sports-related and not, that are at the limit of human capabilities.

First of three documentaries Friedkin made for producer David Wolper.

TELEVISION EPISODE

Alfred Hitchcock (executive producer)
Robert Bloch (teleplay)
Edward D. Hoch (short story)
John Gavin, Richard Jaeckel (starring)
60 minutes
Black and White

A trigger-happy ex-cop gets a job as an unarmed deputy, but still has some very violent tendencies.

One of the filming locations was the Bates Motel from Psycho (1960), also featuring John Gavin. This episode was written by the original Psycho author Robert Bloch.

“Hitchcock came over and I told him I was really honoured to meet him and I extended my hand. And he gave me his hand like a royal hand show. He handed it to me like a dead fish to shake and he said: “Mr Friedkin, I see that you’re not wearing a tie.” And I thought he was putting me on. I said: “No sir, I didn’t put on a tie today.” And he said: “Usually our directors wear ties.” And he walked away. And that was it.”
— William Friedkin (The Guardian, 1998)

TELEVISION DOCUMENTARY

David L. Wolper (producer)
Harvey Bernhard (producer)
Bernard Wiser (writer)
Van Heflin (narrator)
60 minutes

The anatomy of professional football in America – its origin and growth, and behind-the-scenes look at the sport today. Last of three documentaries Friedkin made for producer David Wolper.

TELEVISION SERIES (UNKNOWN EPISODES)

David L. Wolper (producer)
James L. Brooks (writer)
Bud Wiser (writer)
Henry Fonda (narrator)
60 minutes

Friedkin likely directed the episode about History of the automobile in America.

TELEVISION DOCUMENTARY

David L. Wolper (producer)
David Vowell (writer)
Bud Wiser (writer)
Van Heflin (narrator)
52 minutes

This early film by William Friedkin is a documentary about the American police force and the difficulties they face in combating escalating crime throughout the country. Second of three documentaries Friedkin made for producer David Wolper.

TELEVISION PILOT

Dee Caruso (writer)
Gerald Gardner (writer)
Quincy Jones (music)
The Pickle Brothers (starring)
23 minutes

The Pickle Brothers were a three-man comedy act. The group disbanded in 1968.

Comedy | Musical | Western

Tony Barrett, Nicholas Hyams (writers)
Steve Broidy, Lindsley Parsons (producers)
Melvin Shapiro (editor)
Sonny Bono, Cher, George Sanders, Norman Alden, Larry Duran, Kelly Thordsen, Lennie Weinrib (starring)
92 minutes
Budget: $1.2 million
Box office: $800,000

Sonny and Cher spoof many Hollywood classic movie scenes.

Bono and Friedkin were both represented by the William Morris Agency.

“I’ve made better films than Good Times but I’ve never had so much fun.”
(The Friedkin Connection)

Drama | Mystery | Thriller

Harold Pinter (writer)
Max Rosenberg, Milton Subotsky (producers)
Denys Coop (cinematography)
Antony Gibbs (edtor)
Robert Shaw, Patrick Magee, Sydney Tafler, Dandy Nichols (starring)
124 minutes
Budget: $640,000
Box Office: $400,000

The down-at-heel lodger in a seaside boarding house is menaced by two mysterious strangers, who eventually take him away. Based on the 1957 play The Birthday Party by Harold Pinter. Friedkin’s passion project.

“The first film I really wanted to make, understood and felt passionate about. A film of which I’m proud. The cast played it to perfection. With the exception of an occasional over-the-top directorial flourish I think I captured Pinter’s world. The time I spent with him and the many conversations we had were the most invaluable and instructive of my career.” (The Friedkin Connection)

Comedy

Arnold Schulman, Sidney Michaels, Norman Lear (screenwriters)
Andrew Laszlo (cinematography)
Ralph Rosenblum (editor)
Philip J. Lang, Charles Strouse, Lee Adams (music, songs)
Britt Ekland, Elliott Gould, Jason Robards (starring)
99 minutes
Box Office: $3 million

Based on the 1960 novel by Rowland Barber. A mildly exaggerated history of the creation of the striptease, and the downfall of 1920s-era burlesque clubs, in which an Amish girl performing Bible story dances at a burlesque club is being taken advantage of by the club’s owner in order to mock public decency-enforcing police officers, and who accidentally invents the striptease when she tears her costume. Shot in 58 days and edited for 9 months, the film’s budget exceeded $3 million, making it the most expensive film shot in New York City at the time. Elliot Gould’s film debut, and Bert Lahr’s last film, as he died during production.

“Minsky’s was way over my head. I didn’t have a clue what to do. Norman produced it and he was a very difficult, tough guy to work with, but I learned a great deal from him and I was struggling every day on the set. It wasn’t a great script…it was a lot of schtick. But it would’ve been a lot better if I’d been more familiar with that world of burlesque in the 20s, which I wasn’t. So because of that, I think the film suffers to a great degree from that.” (The Hollywood Interview By Alex Simon and Terry Keefe)

DRAMA

Mart Crowley (writer, producer)
Kenneth Utt, Dominick Dunne, Robert Jiras (producers)
Arthur J. Ornitz (cinematography)
Gerald B. Greenberg, (editors)
Kenneth Nelson, Peter White, Leonard Frey, Cliff Gorman, Frederick Combs, Laurence Luckinbill, Keith Prentice, Robert La Tourneaux, and Reuben Greene (starring)
118 minutes
Budget: $5.5 million
Box Office: $3.5 million (US/Canada rentals)

Based on Mart Crowley’s 1968 Off-Broadway play. Tempers fray and true selves are revealed when a heterosexual accidentally intrudes on a homosexual party. Stars all of the same actors from the original play. Producer/author Mart Crowley insisted that the entire original cast of the off-Broadway production be used in the film. A producer and several actors would later succumbed to AIDS.

“It’s one of the few films I’ve made that I can still watch.”
(Friedkin, William (2008). The Boys in the Band (Interview) (DVD). CBS Television Distribution. ASIN B001CQONPE.)

DRAMA

Ernest Tidyman (writer)
Robin Moore (book)
Philip D’Antoni (producer)
Owen Roizman (cinematography)
Gerald B. Greenberg (editor)
Don Ellis (music)
Gene Hackman, Fernando Rey, Roy Scheider, Tony Lo Bianco, Marcel Bozzuffi (starring)
104 minutes
Budget: $2.2 million
Box Office (domestic): $51.7 million

A pair of NYPD detectives in the Narcotics Bureau stumble onto a heroin smuggling ring based in Marseilles, but stopping them and capturing their leaders proves an elusive goal. At the 44th Academy Awards, the film earned eight nominations and won five for Best Picture, Best Actor (Hackman), Best Director, Best Film Editing, and Best Adapted Screenplay. Often considered one of the greatest films ever made. In 2005, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant.”

“After I saw Z, I realized how I could shoot The French Connection. Because he shot Z like a documentary. It was a fiction film but it was made like it was actually happening. Like the camera didn’t know what was gonna happen next. And that is an induced technique. It looks like he happened upon the scene and captured what was going on as you do in a documentary. My first films were documentaries too. So I understood what he was doing but I never thought you could do that in a feature at that time until I saw Z.”
(“William Friedkin’s Favorite Films of all Time”. Fade In Magazine. Retrieved January 20, 2022 – via YouTube.)

HORROR

William Peter Blatty (book, writer, producer)
Owen Roizman (cinematography)
Evan A. Lottman, Norman Gay, Bud S. Smith (editors)
Jack Nitzsche (music)
Ellen Burstyn, Max von Sydow, Jason Miller, Linda Blair (starring)
122 minutes
Budget: $12 million
Box Office (domestic): $233 million

Based on his 1971 novel by William Peter Blatty. When a teenage girl is possessed by a mysterious entity, her mother seeks the help of two priests to save her daughter. Many cast and crew were injured, some died, and unusual accidents delayed shooting. Production took twice as long as scheduled (200 days) and cost almost three times the initial budget; the many mishaps have led to a belief that the film was cursed. Became the first horror film to be nominated for the Academy Award for Best Picture, as well as nine others. Blatty won Best Adapted Screenplay, while the sound engineers took Best Sound.

“I’m not a convert to the occult, but after all I’ve seen on this film, I definitely believe in demonic possession … We were plagued by strange and sinister things from the beginning.”
(Fort, Benjamin (1974). “The Exorcist”. Castle of Frankenstein. Vol. 6, no. 22. p. 34 – via Internet Archive.)

Documentary

William A. Fraker (cinematography)
Augie Hess (editor)
140 minutes

American director William Friedkin interviewed Austrian director Fritz Lang on February 21st and 24th, 1975. Lang died August 2nd, 1976.

Adventure | Drama | Thriller

Walon Green (writer)
John M. Stephens, Dick Bush (cinematography)
Bud Smith, Robert K. Lambert (editors)
Tangerine Dream (music)
Roy Scheider, Bruno Cremer, Francisco Rabal, Amidou (starring)
121 minutes
Budget: $22 million
Box Office (worldwide): $9 million

Based on Georges Arnaud’s 1950 French novel “Le Salaire de la peur.” Four unfortunate men from different parts of the globe agree to risk their lives transporting gallons of nitroglycerin across dangerous Latin American jungle. The film’s commercial failure was attributed to its release at roughly the same time as Star Wars, which instantly became a pop-culture phenomenon. Friedkin considered it among his favorite works, and the most personal and difficult film he ever made. “Sorcerer (1977) is the only film I’ve made that I wouldn’t change a frame of.” (Los Angeles Times, 2014)

“The Sorcerer is an evil wizard and in this case the evil wizard is fate. The fact that somebody can walk out of their front door and a hurricane can take them away, an earthquake or something falling through the roof. And the idea that we don’t really have control over our own fates, neither our births nor our deaths, it’s something that has haunted me since I was intelligent enough to contemplate something like it.”
(Clint Caffeinated (November 25, 2002). “Interview: William Friedkin”. MOVIEHOLE. Archived from the original on March 4, 2016. Retrieved May 21, 2013.)

Comedy | Crime | Drama | History

Walon Green (writer)
Ralph Serpe (producer)
Norman Leigh (cinematography)
Robert K. Lambert, Bud S. Smith (editors)
Richard Rodney Bennett (music)
Peter Falk, Peter Boyle, Allen Garfield, Warren Oates, Gena Rowlands, and Paul Sorvino (starring)
104 minutes
Budget: $16.4 million
Box office: $14.5 million

Based on the Brink’s robbery of 1950 in Boston, and the book about it, “Big Stick-Up at Brinks” by Noel Behn. A fictional retelling of the infamous Boston Brink’s Company robbery on January 17th, 1950, of $2.7M, and cost the American taxpayers $29M to apprehend the culprits with only $58,000 recovered. Friedkin considers The Brink’s Job to be his movie that ended up the “farthest” from what he had envisioned.

“Has some nice moments, despite thinly drawn characters, but it left no footprint. There’s little intensity or suspense and the humour is an acquired taste. The film doesn’t shout, it doesn’t sing – it barely whispers”
(“The Friedkin Connection”)

Crime | Drama | Mystery | Thriller

Jerry Weintraub (producer)
James Contner (cinematography)
Bud Smith (editor)
Jack Nitzsche (music)
Al Pacino, Paul Sorvino, Karen Allen (starring)
102 minutes
Budget: $11 million
Box office: $19.8 million

Loosely based on the novel by New York Times reporter Gerald Walker. A police detective goes undercover in the underground S&M gay subculture of New York City to catch a serial killer who is preying on gay men.

“This film is not intended as an indictment of the homosexual world. It is set in one small segment of that world, which is not meant to be representative of the whole.”
(Hadleigh, Boze (2001). “The Lavender Screen: The Gay and Lesbian Films: Their Stars, Makers, Characters, and Critics.” Citadel Press)

Comedy | Crime

Paul Brickman (writer)
Bud Yorkin (producer)
Richard H. Kline (cinematography)
Jere Huggins, Ned Humphreys, Bud S. Smith (editors)
Arthur B. Rubinstein (music)
Chevy Chase, Gregory Hines, Sigourney Weaver (starring)
99 minutes
Budget: $10 million
Box office: $10.4 million

A small time arms dealer in South America to sell weapons to the revolutionaries, winds up negotiating the sale of an experimental plane to the nation’s dictator. The film goes undiscussed in his memoir.

MUSIC VIDEO

Fred C. Caruso (producer)
Edmund Cupcupin (cinematography)
5 minutes

Music video for Laura Branigan’s song “Self Control” finds her wandering in the night. Filmed in New Jersey.

MUSIC VIDEO

Robert D. Yeoman (cinematography)
4 minutes
Budget: $100,000

“To Live and Die in L.A.” is the single from the soundtrack of the same name.

TELEVISION EPISODE

Philip DeGuere (writer)
Jere Huggins (editor)
James Whitmore Jr., Scott Paulin (starring)
48 minutes

Struggling with a major life decision, Carol Shelton meets a boy who seems to be stalking her. Shopper Janice Hammond buys an antique oil lamp that can grant wishes. Drifter Price shares his Vietnam War memories with diner patrons. Cinematographer Bradford May said director William Friedkin was the most challenging director he had ever worked with because he demanded utmost intensity from every shot.

Action | Crime | Drama | Thriller

Gerald Petievich (co-writer)
Robby Müller (cinematography)
M. Scott Smith (editor)
Wang Chung (music)
Irving H. Levin, Bud S. Smith (producer)
William Petersen, Willem Dafoe, John Pankow, Debra Feuer, John Turturro, Darlanne Fluegel, Dean Stockwell (starring)
116 minutes
Budget: $6 million
Box office: $17.3 million

Based on the 1984 novel by former United States Secret Service agent Gerald Petievich. A fearless Secret Service agent will stop at nothing to bring down the counterfeiter who killed his partner.

MUSIC VIDEO

Leonard Bernstein (composer)
Stephen Sondheim (lyrics)

Music video for Barbra Streisand’s song, ‘Somewhere’.

Short | Music

Joni Rosen, Barbra Streisand (producer)
Andrzej Bartkowiak (cinematography)
Tom McQuade (editor)
David Geffen, Sydney Pollack, Stephen Sondheim (appearance)
40 minutes

Behind-the-scenes look of Barbra Streisand taping an album of Broadway tunes.

Drama | Thriller

David Salven (producer)
Robert D. Yeoman (cinematography)
Jere Huggins (editor)
Ennio Morricone (music)
Michael Biehn, Alex McArthur, Nicholas Campbell (starring)
97 minutes
Budget: $7.5 million
Box office: $796,368

Based on the 1985 novel by William P. Wood. Liberal district attorney decides to seek the death penalty for a man who slaughtered a family at Christmastime, then drank their blood. He escapes, though, and starts killing again.

“This was among the lowest points in my career.”
(Vulture, 2013)

Drama | Fantasy | Horror | Mystery | Thriller

Dan Greenburg, Stephen Volk (co-writers)
Joe Wizan (producer)
John A. Alonzo (cinematography)
Seth Flaum (editors)
Jack Hues (music)
Jenny Seagrove, Dwier Brown, Carey Lowell (starring)
92 minutes
Box office: $17 million

Based on the 1987 novel “The Nanny” by Dan Greenburg. A young couple with a newborn baby don’t realize that the nanny they hired is a magical nymph who sacrifices infants to an evil tree. One of only two feature films that William Friedkin wrote nothing about, positive or negative, in his memoir The Friedkin Connection.

TELEVISION EPISODE

Larry Wilson (writer)
Rick Bota (cinematograhy)
Robert DeMaio (editor)
Merl Saunders (music)
Yul Vazquez, Paul Hipp, Tia Carrere, Sherrie Rose, Heavy D, and Gregg Allman (starring)
29 minutes

Based on the 1952 EC Comics “The Haunt of Fear #12.” Danny Darwin learns that his new tattoo might be more than just a tattoo. As an obvious in-joke, the name of the fictional rock band is Exorcist.

Drama | Sport

Ron Shelton (writer, producer)
Tom Priestly Jr. (cinematography)
Robert K. Lambert (editor)
Jeff Beck, Nile Rodgers (music)
Nick Nolte, Mary McDonnell, Ed O’Neill, J. T. Walsh, Alfre Woodard, Shaquille O’Neal (starring)
108 minutes
Budget: $35 million
Box office: $26 million

A college basketball coach is forced to break the rules in order to get the players he needs to stay competitive. William Friedkin’s decision to cast basketball players, such as Shaquille O’Neal and Penny Hardaway as the basketball players, was rooted in the director’s sentiment that actors make for unconvincing athletes in most sports films.

“I felt the script had a lot of truth about it, even though it was more about coaching and recruiting than the game itself. But I felt the first thing that had to register was how the games were played.”
(Grantland, 2013)

TELEVISION MOVIE

Debra Hill, Gigi Vorgan (writers)
Debra Hill, Willie Kutner, Lou Arkoff (producers)
Cary Fisher (cinematography)
Augie Hess (editor)
Hummie Mann (music)
76 minutes

Originally aired on Showtime as part of their Rebel Highway series that took the titles of 1950s-era B-movies and applied them to original films. A 1950’s high school cheerleader meets a leather clad rebel biker and goes out on the town with him. When he steals an item of jewellery he gets thrown in prison but not for long. He makes a desperate escape and he is determined to catch up with his lost love and re-new their criminal activities.

Crime | Drama | Thriller

Joe Eszterhas (writer)
Robert Evans, Gary Adelson, Craig Baumgarten (producer)
Andrzej Bartkowiak (cinematography)
Augie Hess (editor)
James Horner (music)
David Caruso, Linda Fiorentino, Chazz Palminteri, Michael Biehn, Richard Crenna (starring)
95 minutes
Budget: $50 million
Box office: $9.9 million

A bright assistant D.A. investigates a gruesome hatchet murder and hides a clue he found at the crime scene. Under professional threats and an attempt on his life, he goes on heartbroken because evidence point to the woman he still loves. Friedkin also said it was the favorite of all the films he had made

“Some of my best work. I felt I had let down the actors, the studio, and most of all, Sherry (Sherry Lansing, his wife, an executive at Paramount). I went into a deep funk. Was it the Exorcist curse, as many have suggested, a poor choice of material, or simply that whatever talent I had was ephemeral? Maybe all of the above.”
(“The Friedkin Connection”)

TELEVISION MOVIE

Reginald Rose (writer)
Terence A. Donnelly (producer)
Fred Schuler (cinematography)
Augie Hess (editor)
Courtney B. Vance, Ossie Davis, George C. Scott, Armin Mueller-Stahl, Dorian Harewood, James Gandolfini, Tony Danza, Jack Lemmon, Hume Cronyn, Mykelti Williamson, Edward James Olmos, William Petersen (starring)
117 minutes
Budget: $1.75 million

Based on the 1954 Teleplay by Reginald Rose. Twelve men must decide the fate of one when one juror objects to the jury’s decision.

“‘See, I believe the boy in the film is guilty, based on the facts you know. But under the rules of evidence it would be hard to convict him, and that’s what these guys have to deal with. I think O. J. Simpson is guilty as hell, but I couldn’t have convicted him based on the evidence presented and the rules of evidence.”
(New York Times, 1997)

MUSIC VIDEO

4 minutes

French release.

Drama | Thriller | War

Stephen Gaghan (writer)
James Webb (story)
Scott Rudin, Richard D. Zanuck (producers)
William A. Fraker, Nicola Pecorini (cinematography)
Augie Hess (editor)
Mark Isham (music)
Tommy Lee Jones, Samuel L. Jackson, Guy Pearce, Bruce Greenwood, Blair Underwood, Philip Baker Hall, Anne Archer, Ben Kingsley (starring)
128 minutes
Budget: $60 million
Box office: $71.7 million

An attorney defends an officer on trial for ordering his troops to fire on civilians after they stormed a U.S. embassy in a Middle Eastern country.

“Let me state right up front, the film is not anti-Arab, is not anti-Muslim and is certainly not anti-Yemen. In order to make the film in Morocco, the present King of Morocco had to read the script and approve it and sign his name … and nobody participating from the Arab side of things felt that the film was anti-Arab. The film is anti-terrorist. It takes a strong stand against terrorism and it says that terrorism wears many faces … but we haven’t made this film to slander the government of Yemen. It’s a democracy and I don’t believe for a moment they support terrorists any more than America does.”
(BBC, 2000)

Action | Crime | Drama | Thriller

David Griffiths, Peter Griffiths, Art Monterastelli (writers)
Ricardo Mestres, James Jacks (producers)
Caleb Deschanel (cinematography)
Augie Hess (editor)
Brian Tyler (music)
Tommy Lee Jones, Benicio del Toro, Connie Nielsen (starring)
94 minutes
Budget: $55 million
Box office: $46.1 million

An FBI deep-woods tracker attempts to capture a trained assassin who has made a sport of hunting humans.

“Let me stress there is no “message” in this film. There are questions I hope people will wrestle with when they reflect on it, but I don’t provide answers. I have none — only more questions. I’ve never really made a film where the good and evil were entirely separate, because I truly believe there is good and evil in all of us. It’s a constant struggle, on a daily basis, for one side or the other to prevail. I think that’s true of all people from all nations. They could be religious people, and they’ll still have this struggle of good and evil going on inside them. I’ve never really made a film — from “The French Connection” to “The Boys in the Band” — in which there were clear-cut bad guys and good guys. The characters that fascinate me are those that embody both.”
(Movieweb, 2003)

Drama | Horror | Thriller

Tracy Letts (writer)
Kimberly C. Anderson, Michael Burns, Gary Huckabay, Malcolm Petal, Andreas Schardt, Holly Wiersma (producers)
Michael Grady (cinematography)
Darrin Navarro (editor)
Brian Tyler (music)
Ashley Judd, Michael Shannon, Harry Connick Jr., Lynn Collins (starring)
102 minutes
Budget: $4 million
Box office: $8.2 million

Based on the 1996 Play by Tracy Letts. An unhinged war veteran holes up with a lonely woman in a spooky Oklahoma motel room. The line between reality and delusion is blurred as they discover a bug infestation.

“It’s not a genre film, but marketing works in mysterious ways. They have to find a genre for it. ‘This is a comedy. This is a melodrama. This is a love story. This is a horror film. This is an adventure film.’ Bug doesn’t fit easily into any of those categories.”
(Comingsoon.net, 2007)

TELEVISION EPISODE

Dustin Lee Abraham (writer)
James L. Carter (cinematography)
John Ganem (editor)
John M. Keane (music)
William Petersen, Marg Helgenberger, Gary Dourdan (starring)
44 minutes

Two dead bodies lead CSI to an old-school mobster who runs a strip club. Meanwhile, divorce proceedings and prescription drug addictions cause Warrick’s life to begin spinning out of control.

TELEVISION EPISODE

Naren Shankar (story)
Dustin Lee Abraham (teleplay, story)
Nelson Cragg (cinematography)
Augie Robles (editor)
John M. Keane (music)
Laurence Fishburne, Marg Helgenberger (starring)
60 minutes

One of Langston’s former grad assistants is murdered. He discovers that she was investigating Mexican wrestlers to solve a series of unsolved murders.

Crime | Drama | Thriller

Tracy Letts (writer)
Nicolas Chartier, Scott Einbinder (producer)
Caleb Deschanel (cinematography)
Darrin Navarro (editor)
Tyler Bates (music)
Matthew McConaughey, Emile Hirsch, Juno Temple, Gina Gershon, Thomas Haden Church (starring)
102 minutes
Budget: $9.5 million
Box office: $4.6 million

Based on the 1993 play by Tracy Letts. When a debt puts a young man’s life in danger, he turns to putting a hit out on his evil mother in order to collect the insurance.

“Cutting would not have made it mass appeal. Cutting it would have been the equivalent of what members of the United States government and military leaders said about the Vietnam War. They said, “We have to destroy Vietnam in order to save it,” and that’s what I would have done to Killer Joe. To get an R rating, I would have had to destroy it in order to save it and I wasn’t interested in doing that.”
(Brevet, Brad (July 25, 2012). “The William Friedkin Interview: Part 1 – Good vs. Evil, ‘Killer Joe’ and the MPAA.” Rope of Silicon. Retrieved November 3, 2012.)

Documentary

Mark Kermode (co-writer)
Mickey Liddell, Pete Shilaimon, Francesco Zippel (producer)
Gary Leva (editor)
Christopher Rouse (music)
Gabriele Amorth (starring)
69 minutes
Box office: $20,449

Father Gabriele Amorth performs his ninth exorcism on an Italian woman.

“I don’t know anything, but neither does anyone else. No one knows anything about the eternal mysteries, how we got here, why we’re here, is there an afterlife. Is there a heaven and a hell? Who knows? Recently the pope was quoted as saying there’s no hell, and he didn’t walk it back, but the church did. I don’t know if there’s a hell. Neither does he!”
(Vulture, 2023)

Drama | War

Herman Wouk (co-writer)
Annabelle Dunne, Matthew Parker (producer)
Kiefer Sutherland, Jason Clarke, Jake Lacy, Monica Raymund, Lance Reddick (starring)
108 minutes

Based on 1953 play “The Caine Mutiny Court-Martial” by Herman Wouk. Follows a naval officer who stands trial for mutiny after taking command from a ship captain he feels is acting in an unstable way, putting in danger both the ship and its crew.