Onward Disney+

Quote:Two elven brothers embark on a quest to bring their father back for one day.

Thor: Love and Thunder Disney+

Quote:Thor enlists the help of Valkyrie, Korg and ex-girlfriend Jane Foster to fight Gorr the God Butcher, who intends to make the gods extinct.

Moana Disney+

Quote:In Ancient Polynesia, when a terrible curse incurred by the Demigod Maui reaches Moana's island, she answers the Ocean's call to seek out the Demigod to set things right.

Turning Red Disney+

Quote:A 13-year-old girl named Meilin turns into a giant red panda whenever she gets too excited.

Mid-Century Peacock

Quote:A husband and wife's weekend in a mid-century modern vacation rental turns deadly when the husband discovers the owner is a psychopath with a backyard of buried secrets and designs on his wife.

Hellhole Netflix

Quote:In 1987 Poland, a police officer investigating mysterious disappearances infiltrates a remote monastery and discovers a dark truth about its clergy.

This movie is rated "R," but the nudity was excised in this YouTube version. Bastards! 

In 1973, director William Friedkin brought the best-selling horror novel The Exorcisth to the screen, and almost 50 years later, it remains one of the greatest horror films ever made. 44 years after releasing that film, however, he made a documentary that's supposedly a companion piece, supposedly with a real exorcist: The Devil and Father Amort. And that's what the Deep Hurting Project is covering this week.

• So, in Italy, 1 in 120 people undergo exorcists ever year? I did not expect Italy to be that fucking backwards?
  
• Is there a reason Friedkin isn't wearing his glasses? Was he just too tired of being mistaken for Peter Bogdanovich?
  
• Dude, can you just give these locations you're traveling to some time to breathe? You're just randomly going to Italy, then Georgetown, then Missouri, and then back to the McNeil house in Georgetown?
  
• And here we have Friedkin explaining one of the most fundamental problems with the movie: Amorth allowed Friedkin to film a real exorcism, but on the condition that he bring no crew, no lighting, nothing but a small video camera. Naturally, this is going to make the centerpiece very hard to look at. 
  
• Did all that Italian just translate to "Nadia, her sister?"
  
• Is Friedkin (or his assistant) allergic to adding subtitles at the same time as establishing captions?
  
• So, if it was just going to be Friedkin and a single camera, how is the camera cutting to the well-wishers without the ceremony skipping a beat?
  
• And we're going to just ignore that this woman's grunting clearly sounds like it's been edited in post?
  
•  It should probably go without saying that Father Amorth only has a small fraction of the charisma of Max von Sydow.
  
• One thing is pretty interesting, however, The chair she's sitting on seems to have a cool-looking vivid red cloth over it. I wonder if I could get/make one for the armchair downstairs.
  
• Is that it? Just 15 minutes?
  
• Why is Friedkin cutting to himself filiming the interviewees?
  
• These scientists he's talking to seem to just be bullshitting their way through the interviews.
  
• Is Friedkin just filming an empty church and acting like he's being haunted by Christina's demon? That's a level of amateurness I would never have expected from someone who's been making movies for half a fucking century. 
  
• Fr. Amorth just randomly gets pneumonia and dies? That's just anticlimactic.
  
• If there's demons, there must be angels? I don't think that logically follows, dude.
  

@Rev. Rye

Quote:

• So, in Italy, 1 in 120 people undergo exorcists ever year? I did not expect Italy to be that fucking backwards?
  

Really? The global seat of the Catholic Church has half a million exorcisms per year and this surprises you? I’m surprised it’s not more.

‘I don’t know if you’re aware of this but in Italy, that guy Jesus? He’s big there. Really big. Statues, paintings, posters, stamps…everywhere you look, ‘There’s Jesus, there’s Jesus, there’s Jesus’. He’s like the Coca-Cola of Italy.’ - Lewis Black

Boru