Film
The Exorcist
The film that made horror respectable — a patient, clinical build from medical mystery to full theological siege, anchored by Ellen Burstyn's terror and Linda Blair's genuinely startling transformation. It's less interested in jump scares than in dread accumulating scene by scene until faith becomes the only weapon left. Still shocking, still serious, and still the template everyone since has copied.
If you liked this
Rosemary's Baby1968
Polanski's paranoid masterpiece about a woman who begins to suspect everyone around her is complicit in something monstrous — the same slow dread of not being believed, dressed as Manhattan gothic instead of church horror.
But A slow burn with almost no scares in the traditional sense — patience required, and the ending unsettles rather than terrifies.

The Omen1976
The other great 70s 'is my child actually evil' film — cooler and more clinical, with a string of gloriously nasty set-piece deaths and a creeping sense that God has simply stopped answering.
But Stiffer acting and more staged scares than Friedkin's film, so it can feel dated sitting next to the real thing.

Hereditary2018
Modern grief horror that borrows the possession film's shape — a family unraveling, a slow reveal that the horror was always closer to home than anyone admitted — and pushes it somewhere bleaker still.
But Deeply upsetting rather than fun-scary; the tonal whiplash and the ending are too much for some viewers to sit with.

The wildcard
Something you would not have found on your own.
Häxan1922
Benjamin Christensen was dramatizing the same fear half a century early — the church's terror of a body possessed by something it can't control — using documentary form to make it feel disturbingly real.
A genuinely deranged Swedish silent film, half documentary lecture on medieval witch-hunts, half staged reenactment of devils, torture, and possession — the ancestor of everything this film would later do with a crucifix.
But Silent, essayistic, and openly bizarre in structure — this asks to be watched as an artifact as much as a story.

More like this (8)
The Conjuring2013
If you want the demonic-possession formula played as a pure, well-oiled fairground ride, this is the best modern version — confident camera work, real dread, and none of the ambiguity.
But Slicker and safer than the original — a jump-scare machine rather than a film that actually lingers in the mind.

The Witch2016
Robert Eggers strips the devil back to Puritan first principles: a family isolated, faith curdling into paranoia, evil that might be real or might just be starvation and grief talking. Cold and exact.
But Glacially paced and thick with period dialogue — this rewards patience rather than delivering scares on any kind of schedule.

Poltergeist1982
A Spielberg-produced haunted-house classic that trades religious dread for suburban dread — the terror of your own home turning against you, told with genuine warmth for the family at its centre.
But More PG-rated fairground spookiness than genuine horror; it can feel tame and dated next to anything made since.

Sinister2012
A jumpier, more modern scare-machine about a family unknowingly inviting evil into their house through an object rather than a body — the same slow dread of realising too late.
But Leans harder on jump scares and a nastier found-footage conceit; less interested in theology, more in dread for its own sake.

The Babadook2014
A grieving mother, a possessed-seeming child, and a monster that might be entirely psychological — turns the exorcism film inward, into a study of what raising a child alone through grief actually costs.
But Small, intimate, and metaphor-heavy rather than spectacular — if you want church bells and levitation, this isn't it.

Insidious2011
An entertaining, unpretentious haunted-family romp that steals possession-movie beats and repurposes them for a jumpier, more playful kind of scare, with a demon that's genuinely memorable.
But Broader and campier than the classics here, with a plot that gets sillier the further in you go.

The Devil and Father Amorth2018no page yet
Made by the same director, it's Friedkin returning to his most famous subject fifty years on to ask, in earnest, whether any of it was real — the non-fiction shadow of his own film.
William Friedkin himself, decades later, filming a real Vatican exorcist performing an actual exorcism — the director who staged the fiction going looking for the fact, visibly unsettled by what he finds.
But Short, rough-edged, and structured more like an inquiry than a film — the documentary format means no catharsis, just questions.
Calvary2014
Swap the demon for ordinary human cruelty and you get the same question Father Karras wrestled with — what a priest's faith actually costs him when evil is real and refuses to blink.
Brendan Gleeson plays an Irish priest given a week to live by a parishioner threatening to kill him — a quieter, darkly funny meditation on faith holding its ground against an evil it can't defeat.
But There's no supernatural horror at all — this is a slow character drama, and the humour running through it is bone-dark rather than fun.

People
Cast
Ellen BurstynChris MacNeil
Linda BlairRegan MacNeil
Jason MillerFather Damien Karras
Max von SydowFather Lankester Merrin
Lee J. CobbLt. Bill Kinderman
William O'MalleyFather Joseph Kevin Dyer
Kitty WinnSharon Spencer
Barton HeymanDr. Klein
Peter MastersonDr. Barringer
Jack MacGowranBurke Dennings
Rudolf SchündlerKarl- Gina PetrushkaWilli
Directing
- William FriedkinDirector
- Terence A. DonnellyFirst Assistant Director
- Nicholas SgarroScript Supervisor
Writing
- William Peter BlattyNovel
- William Peter BlattyScreenplay
Production
- David SalvenAssociate Producer
- Juliet TaylorCasting
- Louis DiGiaimoCasting
- Nessa HyamsCasting
- Noel MarshallExecutive Producer
- William Peter BlattyProducer
Recommended by
The Shining, The Conjuring, Midnight Mass, Carrie, Winter Light, Event Horizon, The Bad Seed, The Amityville Horror, The Omen, The Devil Rides Out