Movies
‘Boorman and the Devil’ Documentary Trailer Chronicles Complicated Relationship with ‘Exorcist II’
Critically acclaimed documentary Boorman and the Devil chronicles how one of the world’s greatest filmmakers made one of the most hated movies ever: Exorcist II: The Heretic. A new trailer highlighting some of the troubled production woes has arrived.
Boorman and the Devil opens at The Quad in NYC on August 28 before opening wider in various cities on September 4, including: Los Angeles, Columbus, Houston, Pittsburgh, Philadelphia, Seattle and more.
After the success of Point Blank and Deliverance, Warner Brothers offered John Boorman the opportunity of a lifetime: the chance to direct a sequel to their smash hit, The Exorcist. The result was one of the biggest disasters in movie history. A critical and financial failure that not only changed how Hollywood did business, but nearly ended Boorman’s filmmaking career… but to be an artist is to be a risk-taker.
Now, John Boorman, Linda Blair, Louise Fletcher, Karyn Kusama, Joe Dante, Mike Flanagan, and more reflect back on the ambition of the film, the artistry and craft, and the value of big creative swings.
“I am beyond thrilled that Yellow Veil has come on board to help us share this story with a larger audience,” said director David Kittredge. “Like myself and the rest of our team, they’re huge cinema-lovers. It’s so exciting that a film which is not only a love letter to John Boorman, but also to ambitious filmmaking, will be handled by people who share the same passions that our team shares.”
“I first saw the film at an early festival screening and the post-screening buzz was just electric. Everyone was loving Boorman and the Devil,” added Yellow Veil co-founder Justin Timms. “To be able to team up with David and the filmmaking team on this release is incredibly exciting, and we can’t wait to spread that post-screening electricity with audiences across the country.”
Boorman and the Devil is produced by Kittredge’s Triple Fire Productions, Travis Stevens (Jodorowsky’s Dune, Starry Eyes) of Snowfort Pictures, and Jim Fall (The Lizzie McGuire Movie), with Alan Koenigsberg of Milton Ventures Media serving as co-producer.
Daniel Kurland wrote in his review, “Boorman and the Devil goes above and beyond to be the definitive text on Exorcist II. This documentary will delight horror and Exorcist fans alike, but it also provides incredible insight for anyone who is just marginally interested in film production.”
Movies
‘Corpus’ Review: A Seductive Slow-Burn Erotic Thriller With a Supernatural Twist [Fantasia 2026]
Director Corrin Evans‘ sweaty, immersive voyage back to the ’90s deftly bypasses nostalgic pastiche thanks to strong form and vision in his feature debut, Corpus. Evocative of 1998’s High Art in indie attitude, style, and themes, Corpus so effectively pulls you into its brooding vision of identity and intimacy that its supernatural elements become almost an afterthought in this slow-simmering psychological thriller.
Evans, who co-writes with Lily Cowles, opens Corpus with a discomforting attention grabber that sees a young woman, Wren (Yellowjackets‘ Nuha Jes Izman), put in an increasingly awkward, then disturbing position at a professional photo shoot. The scene abruptly cuts right at the cusp of sexual violence, setting in motion the overarching mystery that protagonist Sayo (Jeff Wahlberg) slowly discovers he’s been pulled into.
Corpus introduces Sayo as an aspiring photographer with an eye for composition, but one who scrapes by in New York City dealing drugs at nightclubs. His quiet routine gets upended with the return of Vince Marlowe (Brodie Townsend), a star on the rise and Sayo’s longtime crush. Vince convinces Sayo and their mutual pal Ross (Michael Vlamis) to accompany him to an exclusive party hosted by his affluent photographer friend Billie (Lily Cowles). Instead of a bustling gathering filled with prominent guests, though, Sayo is surprised to arrive at an isolated estate deep in the woods, with only Billie, Billie’s strange friend Cata (Ching Valdes-Aran), and Wren to greet them.
It’s the type of bait-and-switch that should set off warnings within Sayo, but his unresolved feelings for Vince override his sense of survival as the strange behaviors grow more sinister over the weekend.
Sayo’s loneliness becomes the epicenter for Evans’ sensual examination of modern relationships, intimacy, and gender norms. As such, Corpus favors slow simmering, sensual unease as Evans dials into the push and pull among its central relationships. More acutely, Sayo’s deep confusion takes center stage as he tries to navigate his perplexing dynamic with the object of his desire. Vince runs hot and cold. Flirtations and advances are sometimes encouraged, sometimes rejected. Not helping is the bizarre dynamic between Billie and her mysterious “friend” Cata. Or Wren’s new feral persona, a far cry from her timid opener.
Fixating so thoroughly on the intricacies of Sayo and Vince’s will-they-won’t-they adds meaty thematic depth, a haunting depiction of loneliness leaving someone vulnerable to different forms of manipulation. It’s here where Evans slowly, ever so slowly, layers in hints of horror. Sensuality and relationship drama take center stage, and while Evans’ strong grasp of form makes for a compelling watch that holds you firmly in its grip, its middle section is prone to pacing lulls.
So much so that by the time Corpus is ready to reveal its sinister horror surprise, it feels almost too little too late. The disorienting nature of desire and intimacy gives way to a full-throttle home invasion that lays all intentions bare and finally unmasks its horror, but it comes in a frenzied rush that can’t wait to conclude Sayo’s erstwhile romantic pursuits.
The restrained horror does frustrate in the wake of the film’s potent cold open, raising the expectation for a more energetic journey that never fully arrives, but what it lacks in supernatural scares it makes up for in style and atmosphere. Wahlberg makes for a complicated, sympathetic lead as the vulnerable romantic struggling to find his place in the world, let alone whether he’s destined for love or the friendship zone. The ’90s setting doesn’t just remove the pesky problem of smartphones when trouble arises; it lets Evans play with form and incorporate photography techniques that raise visual interest. Even the music adds rich texture. It all makes for a stylish debut with a strong voice at the helm, but it never pushes far enough into erotic thriller or horror territory to fully unsettle.
Corpus made its premiere at the 2026 Fantasia International Film Festival. Release info TBD.

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